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Scene 1 -  The German Arrival
Inglourious Basterds
CONTENTS



CHAPTER ONE
ONCE UPON A TIME IN . . .
NAZI-OCCUPIED FRANCE


CHAPTER TWO
INGLOURIOUS BASTERDS


CHAPTER THREE
GERMAN NIGHT IN PARIS


CHAPTER FOUR
OPERATION KINO


CHAPTER FIVE
REVENGE OF THE GIANT FACE
[1]



EXT—DAIRY FARM—DAY

The modest dairy farm in the countryside of Nancy, France (what the
French call cow country).

We read a SUBTITLE in the sky above the farmhouse:


CHAPTER ONE

“ONCE UPON A TIME IN . . .
NAZI-OCCUPIED FRANCE”

This SUBTITLE disappears and is replaced by another one:

“1941
One year into the German
occupation of France”

The farm consists of a house, a small barn, and twelve cows spread
about.

The owner of the property, a bull of a man, FRENCH FARMER, brings
an ax up and down on a tree stump, blemishing his property.
However, simply by sight, you’d never know if he’s been beating at
this stump for the last year or just started today.

JULIE
one of his three pretty teenage daughters, is hanging laundry on
the clothesline. As she hangs up a white bedsheet, she hears a
noise. Moving the sheet aside, she sees:

JULIE’S POV
A Nazi town car convertible, with two little Nazi flags attached to
the hood, a NAZI SOLDIER behind the wheel, a NAZI OFFICER alone in
the backseat, following TWO OTHER NAZI SOLDIERS on motorcycles,
coming up over the hill on the country road leading to their farm.

JULIE
Pappa.

The French farmer sinks his ax in the stump, looks over his
shoulder, and sees the Germans approaching.

The FARMER’S WIFE, CHARLOTTE, comes to the doorway of their home,
followed by her TWO OTHER TEENAGE DAUGHTERS, and sees the Germans
approaching.

The farmer yells to his family in FRENCH, SUBTITLED IN ENGLISH:

FARMER
Go back inside and shut the door.
[2]



FARMER
(to Julie)
Julie, get me some water from the pump to wash
up with, then get inside with your mother.

The young lady runs to the water pump by the house. She picks up a
basin and begins pumping. After a few pumps, water comes out,
splashing into the basin.

The French farmer sits down on the stump he was previously chopping
away at, pulls a handkerchief from his pocket, wipes sweat from his
face, and waits for the Nazi convoy to arrive. After living for a
year with the sword of Damocles suspended over his head, this may
very well be the end.

Julie finishes filling the water basin and places it on the
windowsill.

JULIE
Ready, Pappa.

FARMER
Thank you, darling, now go inside and take care
of your mother. Don’t run.

Julie walks inside the farmhouse and closes the door behind her.

As her father stands up from the stump and moves over to the
windowsill with the water basin . . .

. . . The SOUND OF THE ENGINES of the two motorcycles and car get
LOUDER.

The farmer SPLASHES water from the basin on his face and down his
front. He takes a towel off a nail and wipes the excess water from
his face and chest, as he watches the two motorcycles, the one
automobile, and the four representatives of the National Socialist
Party come to a halt on his property.

We don’t move into them but keep observing them from a distance,
like the farmer.

The TWO NAZI MOTORCYCLISTS are off their bikes and standing at
attention next to them.

The NAZI DRIVER has walked around the automobile and opened the
door for his superior.

The NAZI OFFICER says to the driver in UNSUBTITLED GERMAN:

NAZI OFFICER
This is the property of Perrier LaPadite?
[3]



NAZI DRIVER
Yes, Herr Colonel.

The Nazi officer climbs out of the backseat of the vehicle,
carrying in his left hand a black leather attaché case.

NAZI OFFICER
Herrman, until I summon you, I am to be left
alone.

NAZI DRIVER
As you wish, Herr Colonel.

The S.S. colonel yells to the farmer in FRENCH, SUBTITLED IN
ENGLISH:

NAZI OFFICER
Is this the property of Perrier LaPadite?

FARMER
I am Perrier LaPadite.

The S.S. colonel crosses the distance between them with long
strides and says, in French, with a smile on his face:

NAZI OFFICER
It is a pleasure to meet you, Monsieur
LaPadite. I am Colonel Hans Landa of
the S.S.

COL. HANS LANDA offers the French farmer, PERRIER LAPADITE, his
hand. The Frenchman takes the German hand in his and shakes it.

PERRIER
How may I help you?

COL. LANDA
I was hoping you could invite me inside your
home and we may have a discussion.

INT—LAPADITE FARMHOUSE—DAY

The door to the farmhouse swings open, and the farmer gestures for
the S.S. colonel to enter. Removing his gray S.S. cap, the German
steps inside the Frenchman’s home.

Col. Landa is immediately greeted with the sight of the farmer’s
wife and three pretty daughters standing together in the kitchen,
smiling in his direction.

The farmer enters behind him, closing the door.
[4]



PERRIER
Colonel Landa, this is my family.

The S.S. colonel clicks his heels together and takes the hand of
the French farmer’s wife . . .

COL. LANDA
Col. Hans Landa of the S.S., Madame,
at your service.

He kisses her hand, then continues without letting go of his
hostess’s hand . . .

COL. LANDA
Please excuse my rude intrusion on your
routine.

FARMER’S WIFE
Don’t be ridiculous, Herr Colonel.
Genres: ["Drama","War"]

Summary A French farmer and his family are visited by a German S.S. officer during Nazi-occupied France. The farmer is asked to invite the officer inside for a discussion.
Strengths "Strong tension and conflict, well-defined characters, effective dialogue"
Weaknesses "Limited character development, slow pacing in some parts"

Ratings
Overall

Overall: 9

The scene sets up tension and conflict between the French farmer and the German S.S. officer. The arrival of the Germans disrupts the peaceful farm setting, creating a sense of fear and unease. The dialogue and actions of the characters establish the power dynamic between the occupiers and the occupied.


Story Content

Concept: 8

The concept of a French farmer encountering a German S.S. officer during the Nazi occupation of France is compelling and provides a strong foundation for the story. The scene effectively introduces the main conflict and establishes the setting.

Plot: 8

The plot of the scene centers around the arrival of the German S.S. officer and his request to enter the farmer's home for a discussion. This sets up the central conflict of the scene and foreshadows the larger plot of the film.

Originality: 8

The level of originality in this scene is relatively high. While the setting of Nazi-occupied France is a familiar historical context, the scene introduces fresh situations and approaches, such as the encounter between the protagonist and the S.S. colonel. The authenticity of the characters' actions and dialogue adds depth and originality to the scene.


Character Development

Characters: 9

The characters in the scene are well-defined and their actions and dialogue effectively convey their personalities and motivations. The French farmer is depicted as brave and protective of his family, while Colonel Hans Landa exudes authority and intrigue.

Character Changes: 7

There is some character development in the scene, particularly for the French farmer and his daughter, Julie. The farmer showcases bravery and protectiveness towards his family, while Julie displays fear and obedience by following her father's instructions. The arrival of the German S.S. officer forces the characters to confront their fears and adapt to the presence of the occupiers.

Internal Goal: 8

The protagonist's internal goal in this scene is to protect his family and navigate the encounter with the Nazi soldiers without endangering them. This goal reflects his deeper need for survival, as well as his fears of what the soldiers might do to him and his family.

External Goal: 9

The protagonist's external goal in this scene is to comply with the Nazis' demands and avoid suspicion or trouble. This goal reflects the immediate circumstances and challenges of living under Nazi occupation, where disobedience or resistance can have severe consequences.


Scene Elements

Conflict Level: 9

The conflict level in the scene is high, as the arrival of the German S.S. officer disrupts the peaceful farm setting and creates tension between the characters. The power dynamic between the occupiers and the occupied generates conflict and suspense.

Opposition: 8

The opposition in this scene is strong, as the protagonist is faced with the presence of Nazi soldiers and the challenge of navigating the encounter without endangering his family. The reader is unsure how the protagonist will handle the situation, adding to the tension and conflict.

High Stakes: 9

The stakes are high in the scene, as the French farmer and his family risk their safety and potentially their lives by interacting with the German S.S. officer. The power imbalance and potential consequences of their actions raise the stakes and create a sense of danger.

Story Forward: 8

The scene moves the story forward by introducing the central conflict and setting up the power dynamic between the French farmer and the German S.S. officer. It establishes the stakes for the characters and foreshadows the larger plot of the film.

Unpredictability: 7

This scene is somewhat unpredictable because the reader is unsure how the encounter with the Nazi soldiers will unfold. The protagonist's actions and the soldiers' reactions add an element of uncertainty and suspense.

Philosophical Conflict: 7

There is a philosophical conflict evident in this scene between the protagonist's resistance to the Nazis' presence and the need to protect his family. This challenges his beliefs and values, as he has to balance his desire for defiance with the responsibility of keeping his loved ones safe.


Audience Engagement

Emotional Impact: 8

The scene has a strong emotional impact on the audience, as the fear and anxiety of the characters are palpable. The audience empathizes with the French farmer and his family, who are faced with the presence of the German S.S. officer. The scene evokes feelings of tension and unease.

Dialogue: 8

The dialogue in the scene is well-written and reveals important information about the characters and their relationship to each other. The dialogue between the French farmer and Colonel Hans Landa establishes the power dynamic and creates tension.

Engagement: 9

This scene is engaging because it effectively creates tension and suspense through its descriptive language and dialogue. The reader is invested in the protagonist's struggle to protect his family and navigate the encounter with the Nazi soldiers.

Pacing: 9

The pacing of the scene is effective in building tension and maintaining the reader's engagement. The use of descriptive language and action beats creates a rhythm that keeps the scene moving forward and heightens the suspense.


Technical Aspect

Formatting: 10

The formatting of this scene follows the expected format for its genre. It includes clear scene headings, character names, and dialogue formatting, making it easy to read and understand.

Structure: 9

The structure of this scene follows the expected format for its genre. It introduces the setting, establishes the characters' goals and motivations, and builds tension through dialogue and action.


Critique This scene from "Inglourious Basterds" effectively establishes the setting and introduces the characters. The use of subtitles is helpful in understanding the context of the story. However, there are some areas that could be improved:

1. Dialogue: The dialogue between the characters is clear and serves its purpose, but it lacks depth and could benefit from stronger and more engaging language. Adding more subtext and layers to the conversation could enhance the overall impact of the scene.

2. Description: The scene lacks vivid and specific descriptions that would make the setting come alive. Providing more details about the dairy farm and its surroundings would help to transport the audience into the world of the story.

3. Visual storytelling: While the dialogue conveys the necessary information, the scene could benefit from more visual storytelling. Utilizing actions and gestures to convey emotions and relationships between the characters would make the scene more dynamic and engaging.

4. Character development: The characters introduced in this scene have potential for greater development. Adding more distinct and memorable traits to each character would make them more compelling and relatable to the audience.

Overall, while the scene effectively establishes the setting and introduces the characters, there is room for improvement in terms of dialogue, description, visual storytelling, and character development.
Suggestions Overall, the scene is well-written and effectively establishes the setting and tension. However, here are a few suggestions to improve the scene:

1. Add more visual details: While the scene does a good job of describing the actions and dialogue, it could benefit from more visual details to give the reader a clearer sense of the setting and characters. For example, describing the appearance of the characters, the interior of the farmhouse, or the landscape around the farm would help to create a vivid image in the reader's mind.

2. Clarify character motivations: It would be helpful to provide more insight into the thoughts and emotions of the characters, particularly the farmer and his family. This will allow the audience to understand their fears and motivations better, and therefore become more invested in their story.

3. Show the tension through actions: While dialogue is important, incorporating more actions and body language to convey the tension and fear in the scene could enhance the emotional impact. For example, the farmer could be described as fidgeting with his ax or wiping sweat from his brow, and the family could exchange anxious glances.

4. Consider adding internal thoughts: Providing the internal thoughts of the characters, especially the farmer and his family, can give the audience a deeper understanding of their emotions and increase empathy. This can be achieved through brief snippets of their thoughts in italics.

5. Develop the relationship between the characters: Adding more interaction and dialogue between the characters can help establish their relationships and dynamics. For example, showing moments of affection or tension between the husband and wife or between the daughters and their parents can further develop their characters.

By incorporating these suggestions, the scene can become more immersive and engaging for the audience, enhancing the overall impact of the story.



Scene 2 -  The Visit
While still holding the French woman’s hand and looking into her
eyes, the S.S. colonel says:

COL. LANDA
Monsieur LaPadite, the rumors I have heard in
the village about your family are all true.
Your wife is a beautiful woman.

His eyes leave the mother and move to the three daughters.

COL. LANDA
(CON’T)
And each of your daughters is more lovely than
the last.

PERRIER
Merci. Please have a seat.

The farmer offers the S.S. colonel a seat at the family’s wooden
dinner table. The Nazi officer accepts the French farmer’s offer
and lowers himself into the chair, placing his gray S.S. cap on the
table and keeping his black attaché case on the floor by his feet.

The farmer (perfect host) turns to his wife and says:

PERRIER
Charlotte, would you be so good as to get the
Colonel some wine?
[5]



COL. LANDA
Merci beaucoup, Monsieur LaPadite, but no wine.
This being a dairy farm, one would be safe in
assuming you have milk?

CHARLOTTE
Oui.

COL. LANDA
Then milk is what I prefer.

CHARLOTTE
Very well.

The mother of three takes a carafe of milk out of the icebox
and pours a tall glass of the fresh white liquid for the colonel.

The S.S. colonel takes a long drink from the glass, then puts it
down LOUDLY on the wooden table.

COL. LANDA
Monsieur, to both your family and your cows I
say: Bravo.

PERRIER
Merci.

COL. LANDA
Please, join me at your table.

PERRIER
Very well.

The French farmer sits at his wooden dinner table across from
the Nazi.

The women remain standing.

Col. Landa leans forward and says to the farmer in a low tone of
confidentiality:

COL. LANDA
Monsieur LaPadite, what we have to discuss
would be better discussed in private. You’ll
notice, I left my men outdoors. If it wouldn’t
offend them, could you ask your lovely ladies
to step outside?

PERRIER
You are right.
[6]



PERRIER
(to his women)
Charlotte, would you take the girls outside.
The Colonel and I need to have a few words.

The farmer’s wife follows her husband’s orders and gathers her
daughters, taking them outside, closing the door behind them.

The two men are alone at the farmer’s dinner table, in the farmer’s
humble home.

COL. LANDA
Monsieur LaPadite, I regret to inform you I’ve
exhausted the extent of my French. To continue
to speak it so inadequately would only serve to
embarrass me. However, I’ve been led
to believe you speak English quite well?

PERRIER
Oui.

COL. LANDA
Well, it just so happens, I do as well. This
being your house, I ask your permission to
switch to English for the remainder of the
conversation.

PERRIER
By all means.

They now speak ENGLISH:

COL. LANDA
Monsieur LaPadite, while I’m very familiar with
you and your family,
I have no way of knowing if you are familiar
with who I am. Are you aware
of my existence?

The farmer answers:

PERRIER
Yes.

COL. LANDA
This is good. Are you aware of the job I’ve
been ordered to carry out in France?
[7]



PERRIER
Yes.

The colonel drinks more milk.

COL. LANDA
Please tell me what you’ve heard?

PERRIER
I’ve heard the Führer has put you in charge of
rounding up the Jews left in France who are
either hiding or passing for gentile.

The S.S. colonel smiles.

COL. LANDA
The Führer couldn’t have said it better
himself.

PERRIER
But the meaning of your visit, pleasant though
it is, is mysterious to me.
The Germans looked through my house nine months
ago for hiding Jews and found nothing.

COL. LANDA
I’m aware of that. I read the report on this
area. But like any enterprise,
when under new management, there’s always a
slight duplication of efforts. Most of it being
a complete waste of time, but it needs to be
done nevertheless.
I just have a few questions, Monsieur LaPadite.
If you can assist me with answers, my
department can close the
file on your family.

Taking his black leather attaché case and placing it on the table,
he takes out a folder from inside. He also extracts an expensive
black fountain pen from his uniform’s front pocket. Opening the
folder and referring to it:

COL. LANDA
Now, before the occupation there were four
Jewish families in this area, all dairy farmers
like yourself:
the Loveitts, the Doleracs, the Rollins,
and the Dreyfuses, is that correct?
[8]



PERRIER
To my knowledge those were the Jewish families
among the dairy farmers.
Herr Colonel, would it disturb you if
I smoked my pipe?

Looking up from his papers:
Genres: ["Drama","War"]

Summary A French farmer and his family are visited by a German S.S. officer during Nazi-occupied France. The officer compliments the farmer's wife and daughters, and they engage in polite conversation. The officer requests to speak in private and asks the women to leave. The officer reveals his knowledge of the farmer's family and his mission to round up Jews in France. They switch to English and the officer asks for information to close the file on the farmer's family.
Strengths "Tense atmosphere, well-developed characters, engaging dialogue"
Weaknesses "Lack of significant character changes, limited action"

Ratings
Overall

Overall: 9

The scene effectively establishes the historical setting and introduces a high-stakes conflict between the characters.


Story Content

Concept: 8

The concept of a French farmer facing a visit from a German S.S. officer during Nazi-occupied France is compelling and engaging.

Plot: 9

The plot advances as the S.S. officer reveals his mission and asks for information from the farmer.

Originality: 6

The level of originality in this scene is moderate. While the setting and themes of Nazi occupation have been explored in other works, the specific interactions and dialogue between the characters offer some fresh approaches. The authenticity of the characters' actions and dialogue contributes to a sense of realism.


Character Development

Characters: 8

The characters, particularly the S.S. officer and the farmer, are well-developed and engage in meaningful dialogue.

Character Changes: 7

The scene does not show significant character changes, but it sets up potential changes in the future as the farmer interacts with the S.S. officer.

Internal Goal: 8

The protagonist's internal goal in this scene is to protect his family and avoid suspicion from the Nazi officer. His deeper need, fear, or desire is to keep his family safe.

External Goal: 7

The protagonist's external goal in this scene is to provide the Nazi officer with information that will prevent further investigation into his family's connection to Jewish families. This goal reflects the immediate circumstances of the Nazi occupation and the threat it poses to Jewish individuals.


Scene Elements

Conflict Level: 9

The conflict between the French farmer and the S.S. officer is high, as the officer's visit puts the farmer and his family at risk.

Opposition: 7

The opposition in this scene is strong as the protagonist faces the power and authority of the Nazi officer. The audience is unsure of how the interaction will unfold and what consequences the protagonist may face.

High Stakes: 10

The stakes are high as the farmer's family is at risk due to the officer's visit and his mission to round up Jews in France.

Story Forward: 8

The scene moves the story forward by introducing the conflict and establishing the relationship between the characters.

Unpredictability: 7

This scene is unpredictable because the audience does not know how the protagonist will navigate the conversation with the Nazi officer and what consequences his choices may have. The dialogue and actions of the characters keep the audience guessing.

Philosophical Conflict: 6

The philosophical conflict evident in this scene is the tension between collaboration and resistance. The protagonist must choose whether to cooperate with the Nazi officer to protect his family or to resist and potentially face the consequences.


Audience Engagement

Emotional Impact: 7

The scene elicits tension and curiosity from the audience, as they wonder how the farmer will navigate the situation.

Dialogue: 8

The dialogue effectively conveys tension and provides insight into the characters' motivations and dynamics.

Engagement: 9

This scene is engaging because it establishes the tension and moral dilemmas involved in the interaction between the protagonist and the Nazi officer. The power dynamics and potential consequences create a sense of suspense and keep the audience invested in the outcome.

Pacing: 8

The pacing and rhythm of the scene contribute to its effectiveness by creating a deliberate and tense atmosphere. The dialogue and actions unfold at a controlled pace, allowing for the building of suspense and the exploration of the characters' motivations.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. It includes appropriate scene headings, character names, dialogue, and action descriptions.

Structure: 8

The structure of this scene follows the expected format for its genre. It effectively establishes the setting, introduces the characters, and establishes their goals and conflicts.


Critique Overall, this scene is well-written and effectively builds tension between the characters. However, there are a few areas that could be improved upon.

1. Dialogue: The dialogue is generally strong and conveys the power dynamic between Col. Landa and Monsieur LaPadite. However, it could benefit from more subtext and nuance to further reveal the characters' motives and emotions. Adding subtle hints or veiled threats would make the scene more compelling.

2. Description: The scene would benefit from more detailed descriptions of the characters' actions and facial expressions. This would help readers visualize the scene and understand the emotions and reactions of the characters. For example, describing the way Col. Landa sips the milk or the way Monsieur LaPadite smokes his pipe would add depth to the scene.

3. Pacing: The scene could be tightened to maintain a steady pace and build suspense. Some of the dialogue exchanges could be shortened or streamlined to keep the tension high. This would make the scene more engaging for readers and viewers.

4. Visuals: There is potential to enhance the visuals of the scene. For example, focusing on the contrast between the Nazi officer's pristine uniform and the farmer's humble home could visually depict the power imbalance between them. Additionally, incorporating more visual details, like the lighting or the objects in the room, could add depth to the scene and create a more immersive experience.

Overall, while this scene effectively establishes the tension and power dynamics between the characters, there are areas that could be improved upon to further enhance the emotional impact of the scene.
Suggestions As a screenwriting expert, here are some suggestions to improve the scene:

1. Add more visual and descriptive details: It's important to create a vivid and engaging visual experience for the reader and future audience. Describe the characters' physical appearances, their surroundings, and their actions in more detail. For example, how does the French woman react when the S.S. colonel compliments her daughters? Are the milk and wine poured smoothly, or is there a slight hesitation?

2. Develop the characters' subtext and motivations: Think about the underlying emotions and intentions of each character in the scene. What is the true reason behind the S.S. colonel's visit? What is he trying to achieve with Monsieur LaPadite? Add hints and subtle clues to engage the audience and build suspense.

3. Strengthen the dialogue: Consider adding more subtext and depth to the dialogue exchanges between the characters. How can they use their words to convey hidden meanings and ulterior motives? You can also vary sentence structures and lengths to create a more engaging rhythm.

4. Show the characters' emotions: Explore the emotional states of the characters, especially Monsieur LaPadite. Is he nervous, suspicious, or trying to hide something? Show his inner conflict through his actions, gestures, or facial expressions to make the scene more dynamic.

5. Use cinematic techniques: Think about how the scene can be visually enhanced through cinematography. Consider camera angles, movements, and lighting to create a visually compelling and impactful scene. For example, close-ups on the characters' faces during key moments can add intensity and tension.



Scene 3 -  In the Lion's Den
COL. LANDA
Please, Monsieur LaPadite, it is your house.
Make yourself comfortable.

The farmer gets up from the table, goes to a shelf over the
fireplace, and removes from it a WOODEN BOX that contains all the
fixings to his pipe. He sits back down at the table with his Nazi
guest.

As the farmer loads the bowl of his pipe with tobacco, sets a match
to it, and begins slowly puffing, making it red hot, the S.S.
colonel studies the papers in front of him.

COL. LANDA
Now, according to these papers, all
the Jewish families in this area have been
accounted for—except the Dreyfuses. Somewhere in
the last year it would appear they have
vanished.
Which leads me to the conclusion that they’ve
either made good their escape
or someone is very successful hiding them.
(looking up from
his papers, across
the table at the
farmer)
What have you heard about the Dreyfuses,
Monsieur LaPadite?

PERRIER
Only rumors—

COL. LANDA
—I love rumors! Facts can be so misleading, where
rumors, true or false, are often revealing. So,
Monsieur LaPadite, what rumors have you heard
regarding
the Dreyfuses?

The farmer looks at Landa.
[9]



COL. LANDA
Speak freely, Monsieur LaPadite, I want to hear
what the rumors are, not who told them to you.

The farmer puffs thoroughly on his pipe.

PERRIER
Again, this is just a rumor—but we
heard the Dreyfuses had made their way into
Spain.

COL. LANDA
So the rumors you’ve heard have been of escape?

PERRIER
Yes.

COL. LANDA
Were the LaPadites and the Dreyfuses friendly?

As the farmer answers this question, the CAMERA LOWERS behind his
chair, to the floor, past the floor, to a small area underneath the
floorboards, revealing:

FIVE HUMAN BEINGS
lying horizontally underneath the farmer’s floorboards. These human
beings are the DREYFUSES, who have lived lying down underneath the
dairy farmer’s house for the past year. But one couldn’t call what
the Dreyfuses have done for the last year living. This family has
done the only thing they could—hide from an occupying army that
wishes to exterminate them.

PERRIER
We were families in the same community, in the
same business. I wouldn’t say
we were friends, but members of the same
community. We had common interests.

The S.S. colonel takes in this answer, seems to accept it, then
moves to the next question.

COL. LANDA
Having never met the Dreyfuses, would you
confirm for me the exact members of the
household and their names?
[10]



PERRIER
There were five of them.
The father, Jacob . . . wife, Miriam . . . her
brother, Bob . . .

COL. LANDA
—How old is Bob?

PERRIER
Thirty—thirty-one?

COL. LANDA
Continue.

PERRIER
And the children . . . Amos . . . and Shosanna.

COL. LANDA
Ages of the children?

PERRIER
Amos—six—I believe. And Shosanna
was fifteen or sixteen, I’m not really sure.

CUT TO

EXT—DAIRY FARM—DAY

The mother and her three daughters finish taking the laundry off
the clothesline.

They can’t hear anything going on inside.

The three Nazi soldiers watch the three daughters.

BACK TO LANDA AND PERRIER

COL. LANDA
Well, I guess that should do it.

He begins gathering up his papers and putting them back into his
attaché case.

The farmer, cool as a cucumber, puffs on his pipe.

COL. LANDA
However, before I go, could I have another glass
of your delicious milk?
[11]



PERRIER
But of course.

The farmer stands up, goes over to the icebox, and takes out the
carafe of milk. As he walks over and fills the Nazi colonel’s
glass, the German officer talks.

COL. LANDA
Monsieur LaPadite, are you aware of the
nickname the people of France have given me?

PERRIER
I have no interest in such things.

COL. LANDA
But you are aware of what they call me?

PERRIER
I’m aware.

COL. LANDA
What are you aware of?

PERRIER
That they call you “the Jew Hunter.”

COL. LANDA
Precisely! Now I understand your trepidation in
repeating it.
Before he was assassinated, Heydrich
apparently hated the moniker the good people of
Prague bestowed on him. Actually, why he would
hate the name “the Hangman” is baffling to me.
It would appear he did everything in
his power to earn it. But I, on the other hand,
love my unofficial title, precisely because
I’ve earned it.

As “the Jew Hunter” enjoys his fresh milk, he continues to theorize
with the French farmer.
Genres: ["War","Drama","Historical"]

Summary A French farmer and his family are visited by a German S.S. officer during Nazi-occupied France. The officer interrogates the farmer about rumors regarding a missing Jewish family, unaware that the family is hidden underneath their floorboards. The farmer provides information about the Dreyfuses, while secretly protecting their hiding place. The scene ends with the officer enjoying a glass of milk and discussing his infamous nickname, 'the Jew Hunter'
Strengths "Compelling dialogue, intense atmosphere, strong character dynamics"
Weaknesses "Some viewers may find the subject matter uncomfortable or distressing"

Ratings
Overall

Overall: 9

The scene is well-written and intense, with strong dialogue and an intriguing plot development. However, some may find it disturbing or uncomfortable due to the subject matter.


Story Content

Concept: 8

The concept of a hidden Jewish family and the tense interaction between the farmer and the S.S. officer is compelling and thought-provoking.

Plot: 9

The plot moves forward significantly, with the reveal of the hidden family and the farmer's attempts to protect them. The scene raises the stakes for the characters and adds tension to the overall story.

Originality: 8

This scene offers a fresh approach to the portrayal of the German occupation during World War II. The authenticity of characters' actions and dialogue adds to the originality of the scene, as it depicts the fear, deception, and moral dilemmas faced by individuals living under Nazi rule.


Character Development

Characters: 9

The characters are well-developed and their actions and dialogue effectively convey the tense atmosphere of the scene. The officer's intimidating presence and the farmer's determination to protect the hidden family are particularly strong.

Character Changes: 7

The scene shows the farmer's determination to protect the hidden family and the officer's calculated manipulation. While there is not a significant change for either character, their actions and decisions have consequences.

Internal Goal: 9

The protagonist's internal goal in this scene is to maintain his composure and hide the fact that the Dreyfus family is hiding underneath his floorboards. This reflects his deeper need to protect and save innocent lives, his fear of discovery and punishment by the Nazis, and his desire to resist the occupation.

External Goal: 8

The protagonist's external goal in this scene is to provide information about the Dreyfus family without arousing suspicion. It reflects the immediate challenge of maintaining his cover and avoiding the attention of the S.S. colonel.


Scene Elements

Conflict Level: 9

The scene is filled with conflict, both overt and underlying. The conflict between the S.S. officer and the farmer, the conflict of hiding the Jewish family, and the conflict of moral choices all contribute to the tension of the scene.

Opposition: 9

The opposition in this scene is strong as the protagonist faces the S.S. colonel, who represents the occupying force threatening the lives of the Dreyfus family. The audience is uncertain about the outcome and the potential consequences.

High Stakes: 9

The stakes are incredibly high in this scene, as the farmer risks his family's safety by hiding the Jewish family. The officer's mission to find and capture Jews adds another layer of danger and tension.

Story Forward: 8

The scene moves the story forward by introducing the hidden family, increasing the stakes and tension, and further developing the conflict between the farmer and the officer.

Unpredictability: 7

This scene is unpredictable because it reveals the hidden presence of the Dreyfus family under the floorboards, which is unexpected and adds a layer of suspense and uncertainty to the story.

Philosophical Conflict: 7

The philosophical conflict evident in this scene is the contrast between the ideals of Nazi ideology and the protagonist's beliefs in human compassion, justice, and the value of every life. This challenges the protagonist's values and worldview and forces him to navigate between his moral compass and the oppressive reality of the occupation.


Audience Engagement

Emotional Impact: 7

The scene evokes a range of emotions, including fear, tension, and unease. However, the emotional impact may vary depending on the viewer's personal connection to the subject matter.

Dialogue: 8

The dialogue is tense and impactful, revealing important information about the characters and their motivations. The officer's monologue about his nickname adds depth to his character.

Engagement: 9

This scene is engaging because it presents a high-stakes situation with hidden secrets and a clash of ideologies. The tension, dialogue, and uncertainty of the outcome keep the audience invested in the scene.

Pacing: 8

The pacing of the scene contributes to its effectiveness by gradually building tension through dialogue and revealing the hidden truth at the right moment. It keeps the audience engaged and invested in the unfolding events.


Technical Aspect

Formatting: 8

The formatting of this scene follows the expected format for its genre, including proper use of action lines, dialogue tags, and scene headings. It is easy to read and understand.

Structure: 8

The structure of this scene follows the expected format for its genre, with clear character interactions, dialogue, and scene direction. It effectively moves the story forward and develops the conflict and tension.


Critique Overall, the scene is well-written and effectively builds tension. The dialogue between Col. Landa and Monsieur LaPadite is engaging, and their interaction reveals important information about the Dreyfuses. The use of rumors and the reveal of the hidden Dreyfuses adds intrigue to the scene.

One suggestion for improvement would be to include more specific actions and reactions to enhance the visual storytelling. For example, instead of simply stating that the farmer loads his pipe with tobacco and begins puffing, there could be more details about his body language and facial expressions to show his discomfort or nervousness in the presence of a Nazi officer. Similarly, when the camera lowers to reveal the hidden Dreyfuses, there could be more emphasis on the emotions and reactions of the characters in that moment.

Additionally, the scene could benefit from more varied sentence structure and rhythm. Currently, the dialogue is presented mostly as simple, declarative statements. By mixing in shorter, more direct lines, as well as longer, more descriptive sentences, the scene can have a more dynamic and engaging flow.

Overall, the scene effectively sets up the conflict and suspense, but could be enhanced with more visual details and varied sentence structure.
Suggestions Overall, this scene is well-written and effectively establishes tension between Col. Landa and Monsieur LaPadite. However, there are a few suggestions to improve the scene:

1) Clarify the location: In the beginning of the scene, it is unclear whether they are sitting at a table or standing near the fireplace. Adding a brief description of the location will help readers visualize the scene better.

2) Enhance the visual actions: Instead of simply saying the farmer "loads the bowl of his pipe with tobacco," you can add more specific actions to make it more visually engaging. For example, you can describe him carefully selecting the tobacco, tapping it into the bowl, and then lighting it up.

3) Show the tension: The tension in this scene is primarily conveyed through dialogue. Consider adding more nonverbal cues, such as the characters' physical reactions or gestures, to enhance the tension and subtext. This can help make the scene more dynamic and visually interesting.

4) Utilize visual reveals: The reveal of the Dreyfuses hiding under the floorboards is a powerful moment. To make this revelation more impactful, consider adding visual cues throughout the scene that hint at something hidden or unusual. This can build anticipation and create a stronger impact when the camera finally reveals them.

5) Cut unnecessary dialogue: Some of the dialogue, such as the exchange about rumors and facts, can be condensed or removed to improve the pacing of the scene. Focus on the most important and revealing lines to maintain the tension and keep the scene engaging.

6) Add more sensory details: Explore ways to incorporate sensory details, such as the smell of the pipe tobacco or the sound of the match striking, to immerse the audience more fully in the scene and enhance the atmosphere.

By implementing these suggestions, you can elevate the tension and dynamics of the scene, making it more engaging for the audience.



Scene 4 -  The Jew Hunter
COL. LANDA
The feature that makes me such an effective
hunter of the Jews is, as opposed to most German
soldiers, I can think like a Jew, where they can
only think like a German or, more precisely, a
German soldier.
Now if one were to determine what attribute the
German people share with a beast, it would be the
cunning and predatory instinct of a hawk.
[12]



COL. LANDA
(CON’T)
Negroes—gorillas—brain—lips—smell—physical
strength—penis size.
But if one were to determine what attributes
the Jews share with a beast, it would
be that of the rat.
Now the Führer and Goebbels’s propaganda have
said pretty much the same thing. Where our
conclusions differ is I don’t consider the
comparison an insult. Consider for a moment the
world a rat lives in. It’s a hostile world
indeed. If a rat were to scamper through your
front door right now, would you greet it with
hostility?

PERRIER
I suppose I would.

COL. LANDA
Has a rat ever done anything to you to create
this animosity you feel toward them?

PERRIER
Rats spread disease, they bite people—

COL. LANDA
Unless some fool is stupid enough to
try and handle a live one, rats don’t make it a
practice of biting human beings. Rats were the
cause of the bubonic plague, but that was some
time ago. In all your born days, has a rat ever
caused you to be sick a day in your life? I
propose to you, any disease a rat could spread
a squirrel would equally carry.
Yet I assume you don’t share the same animosity
with squirrels that you do with rats, do you?

PERRIER
No.

COL. LANDA
Yet they are both rodents, are they
not? And except for the fact that one has a big
bushy tail, while the other has a long
repugnant tail of rodent skin, they even rather
look alike, don’t they?
[13]



PERRIER
It is an interesting thought,
Herr Colonel.

COL. LANDA
However, interesting as the thought may be, it
makes not one bit of difference to how you
feel. If a rat were to scamper through your
door this very minute, would you offer it a
saucer of your delicious milk?

PERRIER
Probably not.

COL. LANDA
I didn’t think so. You don’t like them. You
don’t really know why you don’t like them. All
you know is, you find them repulsive.
(lets the
metaphor
sink in)
What a tremendously hostile world a rat must
endure. Yet not only does he survive, he
thrives. And the reason for this is because our
little foe has an instinct for survival and
preservation second to none. And that, Monsieur,
is what a Jew shares with a rat.
Consequently, a German soldier conducts
a search of a house suspected of hiding Jews.
Where does the hawk look? He looks in the barn,
he looks in the attic,
he looks in the cellar—he looks everywhere he
would hide. But there are many places it would
never occur to a hawk to hide. However, the
reason the Führer brought me off my Alps in
Austria and placed me in French cow country
today is because it does occur to me.
Because I’m aware what tremendous feats human
beings are capable of once they abandon dignity.

(changing tone)
May I smoke my pipe as well?

The farmer’s cool facade is little by little eroding.

PERRIER
Please, colonel, make yourself at home.
[14]



The Jew Hunter removes both a pipe and a bag of tobacco fixings.
The pipe, strangely enough, is a calabash, made from an S-shaped
gourd with a yellow skin and made famous by Sherlock Holmes.

As the Nazi colonel busies himself with his smoking, he continues
to hold court at the Frenchman’s table.

COL. LANDA
The other mistake the German soldiers
make is their severe handling of the
citizens who give shelter and aid to
the Jews. These citizens are not enemies
of the state. They are simply confused
people, trying to make some sense out of
the madness war creates.
These citizens do not need punishing.
They simply need to be reminded of their
duty in wartime.
Let’s use you as a example, Monsieur
LaPadite. In this war, you have found
yourself in the middle of a conflict
that has nothing to do with yourself,
your lovely ladies, or your cows—yet
here you are.
So, Monsieur LaPadite, let me propose
a question. In this time of war, what is
your number-one duty? Is it to fight
the Germans in the name of France to your
last breath? Or is it to harass the
occupying army to the best of your
ability? Or is it to protect the poor, unfortunate
victims of warfare who can
not protect themselves?
Or is your number-one duty in this time
of bloodshed to protect those very
beautiful women who constitute your
family?

The Colonel lets the last statement stand.

COL. LANDA
That was a question, Monsieur LaPadite. In this
time of war, what do you consider your number-
one duty?

PERRIER
To protect my family.

COL. LANDA
Now, my job dictates that I must have
my men enter your home and conduct a thorough
search before I can officially cross your
family’s name off my list.
[15]
Genres: ["War","Drama"]

Summary A French farmer is interrogated by a German S.S. officer during Nazi-occupied France. The officer discusses the attributes of Jews, compares them to rats, and questions the farmer's loyalty.
Strengths
  • Intense dialogue
  • Effective power dynamics
  • Compelling exploration of themes
Weaknesses

    Ratings
    Overall

    Overall: 8

    The scene is intense, with a high level of conflict and emotional impact. The dialogue is well-written and engages the audience. It effectively establishes the character of the S.S. officer as a menacing and intelligent antagonist.


    Story Content

    Concept: 7

    The concept of exploring the officer's mindset and ideology, as well as his interaction with a French farmer, is compelling and thought-provoking. The scene effectively introduces and develops this concept.

    Plot: 8

    The plot of the scene revolves around the officer interrogating the farmer, discussing the attributes of Jews, and questioning the farmer's loyalty. It provides important information about the officer's mission and the farmer's predicament.

    Originality: 8

    This scene shows a fresh approach to exploring the moral complexities faced by the protagonist and the philosophical conflict between different worldviews. The authenticity of the characters' actions and dialogue adds to the scene's originality.


    Character Development

    Characters: 8

    The characters are well-developed, particularly the S.S. officer who is portrayed as calculated and menacing. The farmer is shown as conflicted and protective of his family.

    Character Changes: 7

    The farmer experiences a gradual erosion of his cool facade under the pressure of the officer's interrogation. It hints at potential future changes in his character.

    Internal Goal: 8

    The protagonist's internal goal in this scene is to protect his family.

    External Goal: 9

    The protagonist's external goal in this scene is to convince Colonel Landa not to search his home for Jews.


    Scene Elements

    Conflict Level: 9

    The conflict in the scene is high, with the officer exerting power and control over the farmer and his family. The tension is intensified by the discussion of sensitive topics and the threat of discovery.

    Opposition: 9

    The opposition in this scene is strong as the protagonist tries to navigate the dangerous situation and convince Colonel Landa not to search his home.

    High Stakes: 9

    The stakes are high in the scene as the officer's visit puts the farmer and his family at risk of discovery and harm. The discussion of rounding up Jews adds a sense of urgency and danger to the situation.

    Story Forward: 8

    The scene moves the story forward by revealing important information about the officer's mission and the farmer's predicament. It sets up future conflicts and raises stakes for the characters.

    Unpredictability: 8

    This scene is unpredictable because of the unexpected philosophical discussions and the way the protagonist challenges Colonel Landa's beliefs and assumptions.

    Philosophical Conflict: 7

    The philosophical conflict evident in this scene is the moral dilemma faced by the protagonist, who is forced to make difficult choices to protect his family while living under the oppressive Nazi regime. This challenge relates to the protagonist's beliefs and values.


    Audience Engagement

    Emotional Impact: 9

    The scene evokes strong emotions, particularly fear and apprehension. The dialogue and power dynamics create a sense of unease and discomfort.

    Dialogue: 9

    The dialogue is engaging and tense, effectively conveying the power dynamic between the officer and the farmer. The officer's monologue about the attributes of Jews is particularly impactful.

    Engagement: 9

    This scene is engaging because of its intense dialogue, thought-provoking philosophical discussions, and the high stakes faced by the protagonist and his family.

    Pacing: 8

    The pacing of the scene is effective in building tension and maintaining the reader's interest through the sharp dialogue and the back-and-forth between the characters.


    Technical Aspect

    Formatting: 9

    The scene follows the expected format for its genre, with clear scene headings, dialogue formatting, and descriptive action lines.

    Structure: 7

    The structure of this scene follows a traditional dialogue-driven format, but it effectively develops the tension and conflict between the characters, contributing to the overall narrative arc.


    Critique Overall, this scene is an effective and intense dialogue between Col. Landa and Perrier LaPadite. It reveals Col. Landa's manipulative and calculating nature as he compares Jews to rats and challenges Perrier's perception of them. The dialogue is thought-provoking and delves into deeper themes of prejudice and survival.

    Strengths:
    1. Dialogue: The dialogue is engaging and thought-provoking. It reveals the character of Col. Landa, his manipulative tactics, and his ability to think like a Jew. It also shows Perrier's conflicted feelings towards Jews.

    2. Tension: The scene builds tension as Col. Landa challenges Perrier's beliefs and uses rhetoric to make him question his own prejudices. This tension enhances the scene and keeps the audience engaged.

    3. Themes: The scene explores themes of prejudice, survival, and duty. It raises questions about the nature of prejudice and challenges the audience to examine their own biases.

    Areas for improvement:
    1. Length: The scene is quite long and could benefit from some tightening. Consider condensing some of the dialogue to maintain the tension and pacing.

    2. Repetition: There are moments where the dialogue repeats certain ideas or points. It may be beneficial to streamline the conversation and remove any unnecessary repetitions.

    3. Visual elements: As a screenwriting expert, it's important to remember that screenplays are primarily visual. While the dialogue is strong, consider adding more visual elements to enhance the scene and engage the reader visually.

    Overall, this scene effectively portrays the dynamics between Col. Landa and Perrier and delves into deeper themes. With some tightening and added visual elements, it has the potential to be a powerful scene.
    Suggestions Here are some suggestions to improve the scene:

    1. Provide more specific and vivid descriptions of the characters and their actions to create a stronger visual image. For example, describe the characters' facial expressions, body language, and tone of voice to enhance the tension and emotions in the scene.

    2. Consider adding more conflict and tension between Col. Landa and Perrier to increase the stakes. This can be achieved through dialogue that highlights their differences in perspective, values, or motives.

    3. Streamline the dialogue by removing repetitive or unnecessary exposition. Focus on concise and impactful lines that contribute to the overall theme or conflict of the scene.

    4. Consider adding more subtext and subtlety in the dialogue to engage the audience and allow them to interpret the characters' motivations and emotions. This can be achieved through the use of metaphor, allusion, or indirect communication.

    5. Explore the use of visual symbolism or motifs to reinforce the themes and ideas being discussed in the scene. For example, if the scene is about the comparison between rats and Jews, consider incorporating visual cues that allude to this comparison.

    6. Consider adding more action or movement to break up the dialogue and provide visual interest. This can be achieved through the characters' physical actions, reactions, or changes in their environment.

    7. Lastly, ensure that the scene contributes to the overall story or character arcs and is necessary for the plot progression. Evaluate if there are any opportunities to reveal new information, create suspense, or showcase character development in the scene.



    Scene 5 -  Escape from the Farmhouse
    COL. LANDA
    (CON’T)
    And if there are any irregularities to be
    found, rest assured, they will be.
    That is, unless you have something to tell me
    that will make the conducting of a search
    unnecessary.
    (pause)
    I might add also that any information
    that makes the performing of my duty
    easier will not be met with punishment.
    Actually quite the contrary, it will be
    met with reward.
    And that reward will be your family
    will cease to be harassed in any way
    by the German military during the rest of our
    occupation of your country.

    The farmer, pipe in mouth, stares across the table at his German
    opponent.

    COL. LANDA
    You are sheltering enemies of the state, are
    you not?

    PERRIER
    Yes.

    COL. LANDA
    You’re sheltering them underneath your
    floorboards, aren’t you?

    PERRIER
    Yes.

    COL. LANDA
    Point out to me the areas where they’re hiding.

    The farmer points out the areas on the floor where the Dreyfuses
    are underneath.

    COL. LANDA
    Since I haven’t heard any disturbance,
    I assume that while they’re listening, they
    don’t speak English?

    PERRIER
    Yes.

    COL. LANDA
    I’m going to switch back to French now, and I
    want you to follow my masquerade—is that clear?
    [16]



    PERRIER
    Yes.

    Col. Landa stands up from the table and, switching to FRENCH, says,
    SUBTITLED IN ENGLISH:

    COL. LANDA
    Monsieur LaPadite, I thank you for your milk and
    your hospitality. I do believe our business here
    is done.

    The Nazi officer opens the front door and silently motions for his
    men to approach the house.

    COL. LANDA
    Madame LaPadite, I thank you for your time. We
    shan’t be bothering your family any longer.

    The soldiers enter the doorway. Col. Landa silently points out the
    area of the floor the Jews are hiding under.

    COL. LANDA
    So, Monsieur and Madame LaPadite,
    I bid you adieu.

    He motions to the soldiers with his index finger.

    They TEAR UP the wooden floor with MACHINE-GUN FIRE.

    The little farmhouse is filled with SMOKE, DUST, SPLINTERS,
    SCREAMS, BULLET CASINGS, and even a little BLOOD.

    With a hand motion from the colonel, the soldiers cut off their
    gunfire. The colonel keeps his finger in the air to indicate
    silence.

    UNDERNEATH THE FLOORBOARDS
    The entire Dreyfus family lies dead. Except for sixteen-year-old
    SHOSANNA, who miraculously escaped being struck by the Nazis’
    bullets. With her dead family surrounding her, the young girl goes
    for freedom (represented by a wire-mesh vent).

    COL. LANDA
    hears a movement underneath the floor, looks down, and sees a SHAPE
    moving forward between the planks in the floor.

    COL. LANDA
    It’s the girl. Nobody move!
    [17]



    VENT
    is KICKED open, the girl SPRINGS out.

    COL. LANDA
    as he crosses the floor, sees the young girl RUNNING toward the
    cover of the woods. He unlatches the window and opens it. Shosanna
    is perfectly FRAMED in the windowsill.

    SHOSANNA
    RUNNING toward the woods. Farmhouse and Colonel in the window in
    B.G.

    FILTHY BARE FEET
    SLAPPING against wet grass.

    CU SHOSANNA’S FACE
    same as an animal being chased by a predator: FLIGHT—PANIC—FEAR.

    SHOSANNA’S POV
    the safety of trees, getting closer.

    COL. LANDA
    framed by the window, takes his WALTER, and straight-arm aims at
    the fleeing Jew, cocking back the hammer with his thumb.

    COL. LANDA POV
    of the fleeing Shosanna.

    CU COL. LANDA
    SLOW ZOOM into his eyes as he aims.

    PROFILE CU SHOSANNA
    mad dash for life.

    COL. LANDA
    changes his mind. He yells to the rat fleeing the trap, heading for
    the safety of the woodpile, in FRENCH SUBTITLED IN ENGLISH:

    COL. LANDA
    Au revoir, Shosanna!

    SHOSANNA
    makes it to the woods and is gone.

    The S.S. colonel closes the window.

    EXT—DAIRY FARM—DAY

    The Nazi town car DRIVES away.
    [18]



    EXT—NAZI TOWN CAR (MOVING)—DAY

    Col. Hans Landa sits in the backseat of the convertible that’s
    speeding away from the French farmhouse.

    Landa speaks to his driver in GERMAN, SUBTITLE IN ENGLISH:

    COL. LANDA
    Herrman, I sense a question on your lips?
    Out with it?

    DRIVER
    Why did you allow an enemy of the state to
    escape?

    COL. LANDA
    Oh, I don’t think the state is in too much
    danger, do you?

    DRIVER
    I suppose not.

    COL. LANDA
    I’m glad you see it my way. Besides,
    not putting a bullet in the back of a fifteen-
    year-old girl and allowing
    her to escape are not necessarily
    the same thing. She’s a young girl, no food, no
    shelter, no shoes, who’s just witnessed the
    massacre of her entire family.
    She may not survive the night. And after
    word spreads about what happened today, it’s
    highly unlikely she will find any willing farmers
    to extend her aid.
    If I had to guess her fate, I’d say she’ll
    probably be turned in by some neighbor.
    Or she’ll be spotted by some German soldier. Or
    we’ll find her body in the woods, dead from
    starvation or exposure. Or, perhaps . . . she’ll
    survive. She will elude capture. She will escape
    to America. She will move to New York City,
    where she will be elected President of
    the United States.
    Genres: ["Drama","War"]

    Summary A French farmer and his family are interrogated by a German S.S. officer who suspects them of sheltering Jews. The farmer reveals the hiding place of the Jews, leading to their massacre. The farmer's daughter, Shosanna, miraculously escapes and flees towards the woods. The S.S. officer contemplates shooting her but ultimately allows her to escape. The scene ends with the officer discussing the possible fate of the girl.
    Strengths
    • Intense and suspenseful atmosphere
    • Strong character development
    Weaknesses
    • Potentially graphic and disturbing violence

    Ratings
    Overall

    Overall: 9

    The scene is highly impactful, with high stakes and emotional intensity.


    Story Content

    Concept: 8

    The concept of the scene is well-executed, showcasing the tension and moral dilemmas of Nazi-occupied France.

    Plot: 9

    The plot of the scene is gripping and progresses the storyline, showing the consequences of hiding Jews.

    Originality: 5

    The level of originality in this scene is moderate. While there are no unique situations or fresh approaches to familiar ones, the authenticity of the characters' actions and dialogue adds a sense of realism to the scene. The portrayal of the tension and fear during the German occupation of France is accurate and believable.


    Character Development

    Characters: 9

    The characters are well-developed, with the S.S. officer showing both ruthless determination and a moment of compassion.

    Character Changes: 8

    The S.S. officer experiences a subtle change when he decides not to shoot Shosanna.

    Internal Goal: 8

    The protagonist's internal goal in this scene is to protect his family and avoid punishment from the German military. It reflects his deeper need for safety, security, and survival in a dangerous environment.

    External Goal: 9

    The protagonist's external goal in this scene is to convince Col. Landa that he is not hiding enemies of the state and prevent him from conducting a search. It reflects the immediate circumstances and challenge of avoiding detection and protecting the hiding Jews.


    Scene Elements

    Conflict Level: 9

    The conflict between the farmer and the officer is intense and drives the scene.

    Opposition: 9

    The opposition in this scene is strong. The protagonist faces the threat of discovery by Col. Landa and the German military, and must navigate a dangerous situation to protect his family and the hidden Jews. The audience doesn't know how the confrontation will unfold, adding to the tension and suspense.

    High Stakes: 10

    The stakes are extremely high, with the potential discovery of hidden Jews and the life-or-death decision for Shosanna.

    Story Forward: 9

    The scene moves the story forward by showing the impact of the officer's investigation and the subsequent escape.

    Unpredictability: 7

    This scene has a moderate level of unpredictability. While some elements, such as the Nazis searching the farmhouse and the protagonist revealing the hidden Jews, can be expected, the decision of Col. Landa to let Shosanna escape adds a surprising twist to the scene.

    Philosophical Conflict: 7

    There is a philosophical conflict evident in this scene between the values of self-preservation and collaboration with the enemy. The protagonist must weigh the consequences of revealing the hidden Jews against the safety of his own family.


    Audience Engagement

    Emotional Impact: 9

    The scene evokes strong emotions, particularly with the massacre of the hidden Jews and the escape of Shosanna.

    Dialogue: 8

    The dialogue is effective in conveying the tension and conflict between the characters.

    Engagement: 9

    This scene is engaging because of its suspenseful atmosphere, high stakes, and the dynamic interaction between the characters. The tension and uncertainty of the situation capture the audience's attention and keep them invested in the outcome.

    Pacing: 8

    The pacing and rhythm of the scene contribute to its effectiveness by creating and maintaining a sense of suspense and tension. The concise and impactful dialogue and the progression of actions keep the scene engaging and dynamic.


    Technical Aspect

    Formatting: 9

    The formatting of this scene follows the expected format for its genre. It uses clear scene headings, character names, and dialogue formatting, making it easy to read and understand.

    Structure: 7

    The structure of this scene follows the expected format for its genre. It is well-paced, with clear character motivations and a clear progression towards the climax.


    Critique Overall, this scene demonstrates the manipulation and power dynamics between Col. Landa and the farmer, as well as the intense suspense and tragedy of the situation. Here are some specific critiques:

    - The dialogue is strong and effectively conveys Col. Landa's intimidation tactics and the farmer's fear. The exchanges between them are tense and keep the audience engaged.
    - The use of pauses and silences adds to the tension in the scene, particularly when Col. Landa asks the farmer to point out where the Jews are hiding.
    - The transition from English to French adds an interesting layer to the scene and shows Col. Landa's ability to adapt and manipulate the situation.
    - The description of the actions and visuals is clear and helps to create a vivid picture of the events. The use of specific details such as smoke, dust, and bullet casings enhances the visual impact.
    - The sudden violence of the soldiers tearing up the floor with machine-gun fire is shocking and effectively conveys the brutality of the Nazi occupation.
    - The escape of Shosanna and her pursuit by Col. Landa adds a thrilling element to the scene and allows for a poignant moment of hope and survival.
    - The final dialogue between Col. Landa and his driver provides an ironic ending and highlights the unpredictability and complex morality of the characters.

    One suggestion for improvement would be to further develop the emotional impact of the scene. Although the descriptions of the violence and the farmer's fear are well-written, adding more emotional depth and internal thoughts from the characters could enhance the impact on the audience. Additionally, exploring the psychological toll of the situation on the characters could make the scene even more compelling and intense.
    Suggestions Suggestions for improvement:

    1. Improve dialogue clarity: Some lines of dialogue could be shortened or rephrased to make them clearer and more concise. For example, "And if there are any irregularities to be found, rest assured, they will be" could be shortened to "Rest assured, any irregularities will be found." This will help to maintain a strong and engaging pace in the scene.

    2. Add more narrative action: While the dialogue sets up the tension and conflict, there is room to add more visual and physical action to enhance the scene. Consider adding gestures, movements, or reactions from the characters to make the scene more dynamic and visually engaging.

    3. Use more vivid and specific language: To bring the scene to life, use more descriptive language to create vivid images in the reader's mind. For example, instead of "the soldiers enter the doorway," you could write "the soldiers storm into the house, their boots thudding against the wooden floor."

    4. Enhance emotional impact: The scene involves the massacre of a family, so it is important to convey the emotional weight of the situation. Consider adding more details to highlight the fear and desperation of the characters involved, as well as their reactions to the violence.

    5. Consider formatting and structure: Check for consistent formatting and structure throughout the scene. Ensure that character names are always in capital letters and that the scene headings are clear and properly formatted.

    6. Consider the pacing: The scene includes a lot of dialogue, so it's important to ensure there is a good balance between dialogue and action. Consider breaking up the dialogue with moments of action or reaction to maintain the momentum and prevent it from becoming too talk-heavy.

    7. Review the translation and subtitles: If the script includes subtitles for non-English dialogue, make sure they are clear, concise, and accurately convey the meaning of the original language. Additionally, consider using a consistent format or visual cue to differentiate between the spoken dialogue and the translated subtitles for clarity.



    Scene 6 -  The Basterds' Mission
    The S.S. colonel chuckles at his little funny.
    [19]



    FADE UP

    CHAPTER TITLE APPEARS:


    CHAPTER TWO

    “INGLOURIOUS BASTERDS”

    FADE UP

    EXT—SOMEWHERE IN ENGLAND—DAY

    A bunch of SOLDIERS are lined up at attention.

    LIEUTENANT ALDO RAINE, a hillbilly from the mountains of Tennessee,
    walks down the line. He recruits the men the
    Germans will later call “The Basterds.” Lt. Aldo has one
    defining physical characteristic, a ROPE BURN around his
    neck—as if, once upon a time, he survived a LYNCHING.
    The scar will never once be mentioned.

    LT. ALDO
    My name is Lt. Aldo Raine, and I’m puttin’
    together a special team.
    And I need me eight soldiers.
    Eight—Jewish—American—soldiers.
    Now y’all might of heard rumors
    about the armada happening soon.
    Well, we’ll be leavin’ a little
    earlier. We’re gonna be dropped
    into France, dressed as civilians.
    And once we’re in enemy territory, as
    a bushwackin’, guerrilla army, we’re gonna be
    doin’ one thing, and one thing only—Killin’
    Nazis.
    The members of the National Socialist Party
    have conquered Europe through murder, torture,
    intimidation, and terror. And that’s exactly
    what we’re gonna do to them. Now I don’t know
    ’bout y’all? But I sure as hell didn’t come
    down from the goddamn Smoky Mountains, cross
    five thousand miles
    of water, fight my way through half Sicily, and
    then jump out of a fuckin’ air-o-plane to teach
    the Nazis
    lessons in humanity. Nazi ain’t got
    no humanity. They’re the foot soldiers of a
    Jew-hatin’, mass-murderin’ maniac, and they
    need to be destroyed.
    That’s why any and every son-of-a-bitch we find
    wearin’ a Nazi uniform, they’re gonna die.
    [20]



    LT. ALDO
    (CON’T)
    We will be cruel to the Germans,
    and through our cruelty, they will
    know who we are. They will find the evidence of
    our cruelty in the disemboweled, dismembered,
    and
    disfigured bodies of their brothers
    we leave behind us. And the Germans
    will not be able to help themselves
    from imagining the cruelty their brothers
    endured at our hands, and
    our bootheels, and the edge of our knives.
    And the Germans will be sickened by us. And the
    Germans will talk about us.
    And the Germans will fear us.
    And when the Germans close their eyes at night
    and their subconscious
    tortures them for the evil they’ve done, it
    will be thoughts of us
    that it tortures them with.

    He stops pacing and looks at everybody.

    LT. ALDO
    Sound good?

    They all say:

    ALL
    Yes, sir!

    LT. ALDO
    That’s what I like to hear. But I
    got a word of warning to all would-be warriors.
    When you join my command,
    you take on debit. A debit you owe
    me, personally. Every man under my command owes
    me one hundred Nazi scalps. And I want my
    scalps.
    And all y’all will git me one hundred
    Nazi scalps, taken from the heads of
    one hundred dead Nazis . . .
    or you will die trying.

    CUT TO

    EXT—MOUNTAIN TOP CHALET—DAY

    A huge chalet on a misty mountaintop in Bavaria.
    [21]



    A SUBTITLE APPEARS:

    “BAVARIA
    BERCHTESGADEN
    (HITLER’S PRIVATE LAIR)”

    INT—BERCHTESGADEN—DAY

    In a huge room, ADOLF HITLER pounds on a big table with
    his fist as he rants at TWO GERMAN GENERALS.

    They speak GERMAN SUBTITLED IN ENGLISH:

    HITLER
    How much more of these Jew swine
    must I endure? They butcher my men
    like they were fish bait! This pack
    of filthy degenerates are doing what
    the Russian army didn’t and Patton’s army
    couldn’t—turning soldiers of
    the Third Reich into superstitious
    old women!

    GERMAN GENERAL
    Just the cowards among them, mein Führer.

    Hitler pounds furiously on the desk with his fist.

    HITLER
    No, no, no, no, no, no! I have heard
    the rumors myself! Soldiers of the Third Reich,
    who have brought the world to their knees, now
    pecking and clucking like chickens. Do you know
    the latest rumor they’ve conjured up, in their
    fear-induced delirium? The one that beats
    my boys with a bat. The one they call “the Bear
    Jew” . . . is a golem.
    An avenging Jew angel, conjured up by
    a vengeful rabbi, to smite the Aryans!

    GENERAL
    Mein Führer, this is just soldiers’ gossip. No
    one really believes the
    Bear Jew is a golem.

    HITLER
    Why not? They seem to be able to elude capture
    like an apparition.
    They seem to be able to appear and disappear at
    will.
    [22]



    HITLER
    (CON’T)
    You want to prove they’re flesh and blood? Then
    BRING THEM TO ME!
    I will hang them naked, by their
    heels, from the Eiffel Tower!
    And then throw their bodies in
    the sewers, for the rats of Paris
    to feast!

    The Führer sits down at the table to compose himself and
    wipe his greasy black hair out of his face.

    HITLER
    (disgusted)
    The Bear Jew.
    Genres: ["War","Drama"]

    Summary Lt. Aldo Raine recruits a team of Jewish-American soldiers to infiltrate enemy territory and kill Nazis. Adolf Hitler expresses his frustration with rumors of the Bear Jew and vows to capture and punish them.
    Strengths "The strong and impactful dialogue, the captivating concept of Jewish-American soldiers seeking revenge on Nazis, the intense tone."
    Weaknesses "Lack of character development for the other soldiers introduced in the scene."

    Ratings
    Overall

    Overall: 9

    The scene sets up the conflict between the Basterds and the Nazis effectively and introduces the key characters and their mission. It is intense and dark, reflecting the tone of the film.


    Story Content

    Concept: 10

    The concept of Jewish-American soldiers seeking revenge on Nazis in World War II is unique and captivating. It adds a fresh perspective to the war genre.

    Plot: 9

    The plot of the scene revolves around Lt. Aldo Raine recruiting soldiers and Adolf Hitler expressing his frustration with rumors of the Bear Jew. It is engaging and moves the story forward.

    Originality: 6

    The level of originality in this scene is moderate. While the overall concept of fighting against Nazis is not entirely original, the inclusion of Lt. Aldo Raine's character and the specific goal of collecting Nazi scalps adds a fresh approach to the familiar setting. The authenticity of the characters' actions and dialogue also adds to the originality.


    Character Development

    Characters: 8

    Lt. Aldo Raine is a strong and determined leader, while Adolf Hitler is portrayed as a menacing antagonist. However, more development is needed for the other characters introduced in the scene.

    Character Changes: 7

    There is not much character development or change within this scene.

    Internal Goal: 8

    The protagonist's internal goal in this scene is to motivate and inspire his soldiers by providing a clear sense of purpose and mission.

    External Goal: 9

    The protagonist's external goal is to recruit eight soldiers who are willing to join his team and fight against the Nazis. This reflects the immediate circumstances and challenges they are facing, as they need to assemble a capable and dedicated group.


    Scene Elements

    Conflict Level: 9

    There is a high level of conflict between Lt. Aldo Raine and Adolf Hitler, as well as the overarching conflict of the Basterds' mission against the Nazis.

    Opposition: 8

    The opposition in the scene is strong as there is a clear conflict between the protagonist's goals and the Nazis' beliefs and actions. The audience is left uncertain about how the protagonist will succeed in his mission.

    High Stakes: 10

    The stakes are high as Lt. Aldo Raine and his team risk their lives to kill Nazis, while Adolf Hitler is determined to capture and punish them.

    Story Forward: 9

    The scene introduces the main characters and their mission, setting up the larger story of the Basterds' mission to kill Nazis.

    Unpredictability: 6

    This scene is somewhat unpredictable because it introduces the concept of collecting Nazi scalps, which is unexpected and adds a layer of intrigue to the story.

    Philosophical Conflict: 7

    There is a philosophical conflict evident in this scene between the protagonist's beliefs of seeking vengeance against the Nazis and their actions of cruelty, and the Germans' beliefs in their own superiority and racial purity.


    Audience Engagement

    Emotional Impact: 8

    The scene evokes strong emotions due to the intense dialogue and the portrayal of the Nazis as ruthless enemies.

    Dialogue: 9

    The dialogue is impactful and helps establish the characters' motivations and the stakes involved in their mission.

    Engagement: 9

    This scene is engaging because it introduces the protagonist, establishes the stakes and conflict, and creates a sense of anticipation and tension for the upcoming mission.

    Pacing: 9

    The pacing of the scene contributes to its effectiveness by delivering the dialogue and action in a fast-paced and impactful manner, keeping the audience engaged.


    Technical Aspect

    Formatting: 9

    The formatting of this scene follows the expected format for its genre, with clear scene descriptions and properly formatted dialogue.

    Structure: 8

    The structure of this scene follows the expected format for its genre, providing clear dialogue and character actions that contribute to the development of the story and the protagonist's goals.


    Critique Overall, this scene sets up the conflict and introduces the main characters effectively. The dialogue is powerful and reveals important information about Lt. Aldo Raine and Hitler's perspective on the Basterds. However, there are a few areas that could be improved:

    1. Formatting and scene description: The scene lacks clear scene headings and concise description. It would benefit from specific and visual details that help create a vivid picture for the reader.

    2. Show, don't tell: While the dialogue does a good job of conveying the intentions and motivations of the characters, it would be more impactful to show some of these elements through actions or visuals. This would engage the audience more and make the scene more dynamic.

    3. Pacing: The scene could benefit from some variation in pacing. Breaking up the large block of dialogue with visual moments or reactions from the soldiers could create more tension and keep the scene engaging.

    4. Characterization: Although Lt. Aldo Raine is described with a defining physical characteristic, there is room for more development of his character. Showing glimpses of his personality or backstory through actions or specific choices would make him more three-dimensional.

    5. Visual details: The scene could benefit from more specific visual details that enhance the atmosphere and setting. This would help immerse the audience in the world of the story and create a more immersive experience.

    Overall, with some revisions to formatting, scene description, and character development, this scene has great potential to create a strong impact on readers and viewers.
    Suggestions Overall, the scene is strong and effectively sets up the conflict and tone of the story. However, here are a few suggestions to enhance the scene:

    1. Improve Dialogue Flow: Break up the lengthy monologue by Lt. Aldo Raine into smaller chunks to improve the flow and give the audience a chance to absorb the information and emotions being conveyed.

    2. Show Reaction Shots: Consider including reaction shots from the soldiers as Lt. Aldo Raine delivers his speech. This will provide visual cues to the audience about the impact of his words and add depth to the scene.

    3. Enhance Visuals: Use visual cues to reinforce the themes and emotions being conveyed. For example, when Lt. Aldo Raine mentions "disemboweled, dismembered, and disfigured bodies," consider including brief visual flashes or cutaways to emphasize the brutality of the situation.

    4. Develop Hitler's Character: Expand on Hitler's frustration and anger towards the rumors of the Basterds. Show his desperation and paranoia more vividly through his actions and dialogue.

    5. Tighten Subtitle Translation: Condense and refine the English subtitles for Hitler's dialogue to convey the same message more succinctly and effectively.

    6. Consider Pacing: Re-evaluate the placement of the scene within the overall script to ensure it doesn't slow down the narrative or interrupt the flow of the story.

    Remember, these suggestions are subjective and it's important to trust your instincts as a screenwriter while making any changes.



    Scene 7 -  Jew Hunter and Scalping
    He hits the button on the intercom on his desk.

    HITLER
    Kliest!

    KLIEST’S VOICE comes out of the intercom:

    KLIEST’S VOICE (OS)
    Yes, mein Führer.

    HITLER
    I have an order I want relayed to all German
    soldiers stationed in France.
    The Jew degenerate known as the Bear
    Jew henceforth is never to be
    referred to as the Bear Jew again.
    We will cease to aid the Americans
    any longer in their attempt to
    undermine the German soldier’s psyche. Did you
    get that, Kliest?

    KLIEST’S VOICE (OS)
    Yes, mein Führer. Do you still wish
    to see Private Butz?

    HITLER
    Who and what is a private Butz?

    KLEIST’S VOICE (OS)
    He’s the soldier you wanted to see personally.
    His squad was ambushed
    by Lt. Raine’s Jews. He was its only survivor.

    HITLER
    Indeed I do want to see him. Thank
    you for reminding me. Send him in.
    [23]



    CUT TO

    EXT—FRENCH WOODS—DAY

    CU FACE OF DEAD GERMAN SOLDIER
    His head lies on the ground, horizontal. A HAND reaches into
    the FRAME, KNOCKS aside the dead German patriot’s helmet, and grabs
    a handful of the cadaver’s blond hair. A LARGE KNIFE
    ENTERS THE FRAME and begins SLICING ALONG THE HAIRLINE.

    This process is called SCALPING.

    After SLICING is complete, the SCALP easily peels off, like a
    banana skin.

    GERMAN PRISONERS PVT. BUTZ AND SGT. RACHTMAN
    on their knees, hand behind their heads.

    Pvt. Butz NARRATES the scene in GERMAN SUBTITLED IN
    ENGLISH:

    PVT. BUTZ (VO)
    Werner and I were the only ones left alive
    after the ambush. While one man guarded us, the
    rest removed the hair. All the Basterds wore
    German scalps
    tied to their belts.

    CU SCALPS
    hanging from belts.

    PVT. BUTZ (VO)
    They not only took valuables . . .

    WE SEE QUICK CUTS OF
    rings, weapons, an iron cross, and somebody digging out a gold
    tooth with a knife, being removed from dead Germans.

    PVT. BUTZ (VO)
    . . . They also took their identification
    papers . . .

    CU IDENTIFICATION PAPERS
    taken from the inside pocket of a dead German’s uniform.

    BASTERD PFC. UTIVICH
    flips through the I.D. papers till he gets to the page that
    contains the German soldier’s name, statistics, and photo.

    PFC. UTIVICH
    Sigfried Muller.
    [24]



    PVT. BUTZ (VO)
    . . . They then removed their boots . . .

    CU GERMAN COMBAT BOOTS
    laces untied . . . boots pulled off . . .

    SOCKS
    removed, revealing dead bare feet . . .

    BASTERDS
    tossing the boots off a hill.

    PVT. BUTZ (VO)
    Throwing them away from the bodies . . .

    DEAD GERMANS
    scalps removed from their heads, pink bare feet . . .

    PVT. BUTZ (VO)
    The Basterds took their lives, their hair,
    their valuables, their identity, and finally
    their dignity in death.

    True that. The sight of the dead soldiers with bare feet
    does rob the tableau of a certain dignity that is normally
    felt in battlefield shots.

    BACK TO HITLER

    HITLER
    The dogs!

    He fights his frustration, then . . .

    HITLER
    Continue.

    BACK TO THE BASTERDS
    Aldo screams to the Basterd who’s guarding the two German
    prisoners.

    LT. ALDO
    Hey, Hirschberg, send that kraut
    sarge over.

    BASTERD PFC. HIRSCHBERG
    KICKS Sgt. Rachtman in the back.
    [25]



    PFC. HIRSCHBERG
    You! Go!

    Sgt. Rachtman is a little slow to respond. So Hirschberg
    grabs him by the hair, YANKS him to his feet, and KICKS him
    in the ass, sending him on his way.

    Most of the Basterds sit in a circle, Indian style, with
    Aldo in the middle.

    As Sgt. Rachtman walks toward this circle of Basterds,
    An OFFSCREEN LITERARY NARRATOR (not Pvt. Butz) speaks over
    the SOUNDTRACK in ENGLISH:

    NARRATOR (VO)
    Sergeant Werner Rachtman has seen many
    interrogations since Germany decided
    it should rule Europe. But this is
    the first time he’s ever been on the
    wrong end of the exchange.
    It’s always been his belief that
    only a weakling in mind, body, and spirit
    complies with the enemy under threat of consequence.
    As Werner watched men cry like women,
    pleadingly offer their knowledge, in
    exchange for their worthless lives,
    he made a vow to himself.
    If his role is to die in this conflict,
    when they put him under the earth,
    his dignity would be buried with him.
    For in the other world, the gods only
    respect the ones they test first.
    Well, Sergeant, this is your test.
    And the gods are watching.

    The captured German sergeant enters the circle of Basterds, stands
    straight before the sitting southern lieutenant, and salutes his
    captor.

    SGT. RACHTMAN
    (ENGLISH)
    Sgt. Werner Rachtman.

    Aldo returns the salute, looking at up him.

    LT. ALDO
    Lt. Aldo Raine. Pleased to meet cha.
    You know what sit down means, Werner?

    SGT. RACHTMAN
    Yes.

    LT. ALDO
    Then sit down.
    [26]



    The German sergeant does.

    LT. ALDO
    How’s your English, Werner? Cause if need be,
    we gotta couple fellas
    can translate.

    Aldo points at one of the Basterds in the circle,
    CPL. WILHELM WICKI.
    Genres: ["War","Historical","Drama","Thriller"]

    Summary A German S.S. officer interrogates a French farmer about a missing Jewish family while they are hidden underneath the floorboards. The officer discusses his nickname, 'the Jew Hunter.' Meanwhile, Lt. Aldo Raine recruits a team of Jewish-American soldiers to infiltrate enemy territory and kill Nazis. Adolf Hitler expresses frustration with the rumors of the Bear Jew.
    Strengths "Strong tension and intense moments, well-developed characters, thought-provoking concept"
    Weaknesses "Some may find the scene disturbing and intense"

    Ratings
    Overall

    Overall: 8.5

    The scene is well-executed with a high level of tension and intense moments.


    Story Content

    Concept: 8.5

    The concept of exploring the actions of a German S.S. officer and a French farmer during Nazi-occupied France is unique and thought-provoking.

    Plot: 9

    The plot progresses as the officer interrogates the farmer, leading to the revelation of the hidden Jewish family and the discussion of the Bear Jew. Additionally, Lt. Aldo Raine recruits soldiers and Hitler expresses frustration.

    Originality: 6

    This scene exhibits a moderate level of originality. While the setting and themes of World War II and revenge are familiar, the act of scalping German soldiers adds a fresh and shocking element. The authenticity of characters' actions and dialogue adds to the overall originality.


    Character Development

    Characters: 8

    The characters of the S.S. officer, French farmer, Lt. Aldo Raine, and Adolf Hitler are well-developed and play significant roles in the scene.

    Character Changes: 7

    There is some change in the character of Sgt. Werner Rachtman as he faces the Basterds and the realization of his situation.

    Internal Goal: 8

    The protagonist's internal goal in this scene is to assert his authority and maintain control over his soldiers in the face of an ambush by the Basterds. This reflects his need for power and dominance, as well as his fear of losing control and his desire to maintain the loyalty and obedience of his soldiers.

    External Goal: 6

    The protagonist's external goal in this scene is to issue an order to all German soldiers stationed in France. This reflects the immediate circumstances of the Basterds' ambush and the protagonist's desire to counter their actions and undermine the American soldiers' attempts to affect the German soldiers' psyche.


    Scene Elements

    Conflict Level: 9

    There is a high level of conflict between the S.S. officer and the French farmer, as well as the conflict between the Basterds and the captured German sergeant.

    Opposition: 8

    The opposition in this scene is strong because the protagonist is faced with the challenge of maintaining control and authority over his soldiers in the face of the Basterds' actions. The audience is unsure of how the protagonist will respond and the outcome of this conflict.

    High Stakes: 9

    The stakes are high as the hidden Jewish family's safety is at risk and the Basterds aim to infiltrate enemy territory.

    Story Forward: 9

    The scene moves the story forward by introducing the conflict between the S.S. officer and the French farmer, as well as the recruitment of the Basterds.

    Unpredictability: 7

    This scene is unpredictable because it introduces the act of scalping dead soldiers, which is unexpected and adds a layer of shock value. Additionally, the interactions between characters and the power dynamics create uncertainty and suspense.

    Philosophical Conflict: 7

    The philosophical conflict evident in this scene is the belief in the power of violence and dominance versus the belief in maintaining dignity in the face of adversity. This challenges the protagonist's belief that only weaklings comply with the enemy under threat of consequence.


    Audience Engagement

    Emotional Impact: 9

    The scene evokes strong emotions through its intense and disturbing moments.

    Dialogue: 8

    The dialogue between the characters effectively conveys the tension and motivations of each character.

    Engagement: 8

    This scene is engaging because it presents a high-stakes conflict between the protagonist and the Basterds, creates tension through vivid descriptions and dialogue, and introduces a shocking and unexpected element with the scalping of dead soldiers.

    Pacing: 8

    The pacing of the scene is effective because it balances moments of tension and action with moments of dialogue and narration, creating a rhythm that keeps the audience engaged and invested in the scene.


    Technical Aspect

    Formatting: 9

    The formatting of this scene follows the expected format for its genre by using proper scene headings, character names, dialogue formatting, and action lines.

    Structure: 7

    The structure of this scene follows the expected format for its genre by establishing the location and characters involved, presenting the protagonist's goal and conflict, and developing the narrative arc through dialogue and action.


    Critique Overall, the scene seems to effectively convey a sense of tension and brutality in a war setting. However, there are a few areas that could be improved upon:

    1. Dialogue: The dialogue feels a bit expository and lacks a natural flow, particularly in the conversation between Hitler and Kliest. It would benefit from more concise and impactful dialogue that still conveys the same information.

    2. Description: The scalping scene description is excessively graphic and could be toned down or handled with more sensitivity, while still conveying the same sense of violence and shock.

    3. Characterization: Some of the characters, such as Pvt. Butz and Sgt. Rachtman, could be developed further to create more depth and emotional investment for the audience.

    4. Transition: The transition from the Hitler scene to the French woods scene feels slightly abrupt. A smoother transition or a clearer connection between the two scenes could help enhance the overall coherence.

    5. Pacing: The scene could benefit from some moments of quiet reflection or emotional beats to break up the intensity and provide more variety in terms of pacing.

    Overall, the scene has potential, but some adjustments and refinements could help elevate it further.
    Suggestions 1. Focus on the dialogue: The dialogue in this scene is quite heavy and exposition-driven. Try to make the dialogue more concise and focused, keeping in mind the natural way people speak to each other.

    2. Character development: Add more depth to the character of Hitler. Explore his motivations and emotions in this scene, rather than just portraying him as frustrated.

    3. Show, don't tell: Instead of having Pvt. Butz narrating the scene, consider showing the actions and reactions of the characters in real-time. This will make the scene more engaging for the audience.

    4. Visual storytelling: Use visual cues and imagery to enhance the impact of the scene. Consider adding specific actions or shots that will convey the emotions and atmosphere more effectively.

    5. Pacing: The scene feels a bit slow and lacks tension. Look for opportunities to build tension and create a sense of urgency within the scene.

    6. Editing: Consider condensing or removing certain parts of the scene to streamline the storytelling and keep the audience engaged.

    7. Conflict and stakes: Heighten the conflict between the characters and increase the stakes of the scene. This will make the audience more invested in the outcome and create a stronger emotional impact.



    Scene 8 -  The Basterds Recruit Sgt. Hugo Stiglitz
    LT. ALDO
    Wicki there, an Austrian Jew, got the fuck
    outta Salzberg while the
    gettin’ was good. Became American,
    got drafted, and came back to give
    y’all what for.

    Then Aldo points to another Basterd. A big, scary-looking Basterd,
    in a German sergeant’s uniform, named SGT. HUGO STIGLITZ.

    LT. ALDO
    And another one over there you
    might be familiar with, Sgt. Hugo Stiglitz.
    Heard of ’em?

    The two German sergeants look at each other.

    SGT. RACHTMAN
    Everybody in the German army’s heard
    of Hugo Stiglitz.

    The Basterds laugh, and a couple pat Hugo on the back.

    The NARRATOR comes back on the SOUNDTRACK.

    NARRATOR (VO)
    The reason for Hugo Stiglitz’s
    celebrity among German soldiers
    is simple.

    WE SEE A PHOTO OF HUGO on the front page of the Nazi version
    of Stars and Stripes (the military newspaper).

    NARRATOR (VO)
    As a German enlisted man, he killed thirteen
    Gestapo officers, mostly
    majors.

    WE SEE THE MILITARY PHOTOS OF ALL THIRTEEN GESTAPO OFFICERS.
    [27]



    NARRATOR (VO)
    Instead of putting him up against
    a wall, the High Command decided to
    send him back to Berlin, to be made
    an example of.

    Hugo in chains, being put in a lone troop truck, part of a
    prison convoy, en route to Berlin.

    NARRATOR (VO)
    Needless to say, once the Basterds
    heard about him, he never got there.

    EXT—FRENCH COUNTRYSIDE—DAY

    The Basterds AMBUSH the prison convoy, killing everybody.

    They walk to the back of the troop truck. Inside, Hugo, in chains,
    stares back at them.

    LT. ALDO
    Sgt. Hugo Stiglitz?

    Hugo nods.

    LT. ALDO
    I’m Lt. Aldo Raine, and these are
    the Basterds. Ever heard of us?

    Hugo nods his head, yes.

    LT. ALDO
    We just wanna say, we’re a big fan of your
    work. When it comes to killin’ Nazis, I think
    you show great talent, and I pride myself on
    havin’ an eye for that kind of talent. But your
    status as a Nazi killer is still amateur. We
    all came here to see if you wanna go pro?

    BACK TO THE BASTERD CIRCLE.

    LT. ALDO
    Now Werner, I’m gonna assume you know who we
    are?

    SGT. RACHTMAN
    Aldo the Apache.

    The circle of Basterds giggle.
    [28]



    LT. ADLO
    Well, Werner, if you heard of us, you probably
    heard we ain’t in the
    prisoner-takin’ business. We in the killin’
    Nazi business. And cousin, business is boomin’.

    The Basterds laugh.

    LT. ALDO
    Now that leaves two ways we can play this out.
    Either kill ya or let ya
    go. Now whether or not you gonna
    leave this circle alive depends
    entirely on you.

    Aldo takes out a map of the area and lays it out in front
    of his prisoner.

    LT. ALDO
    Up the road a piece, there’s a
    orchard. ’Sides you, we know there’s another
    kraut patrol fuckin’ around
    here somewhere. Now if that patrol
    were to have any crack shots, that orchard
    would be a goddamn sniper’s delight. Now if you
    ever wanna eat
    a sauerkraut sandwich again, you
    gotta show me on this map where
    they are, you gotta tell me how many they are,
    and you gotta tell me
    what kinda artillery they carrying
    with ’em.

    SGT. RACHTMAN
    You can’t expect me to divulge information that
    would put German
    lives in danger.

    LT. ALDO
    Well, Werner, that’s where you’re wrong.
    Because that’s exactly what I expect.
    I need to know about Germans hidin’
    in trees. And you need to tell me.
    And you need to tell me, right now.
    Now take your finger and point out
    on this map where this party’s bein’ held, how
    many’s comin’, and what they brought to play
    with.

    Werner sits, head held high, back straight, chin up, every
    inch the German hero facing death.
    [29]



    SGT. WERNER
    I respectfully refuse, sir.

    Aldo jerks his thumb behind him.

    LT. ALDO
    You see that ole boy battin’ rocks?

    WE RACK-FOCUS to one of the Basterds not in the circle.
    He’s wearing a wife beater and power-hitting stones
    with a baseball bat.

    Werner’s eyes go to the ballplayer.

    LT. ALDO
    That’s Sgt. Donny Donowitz. But you might know
    him better by his nickname, the Bear Jew. Now
    if you heard of
    Aldo the Apache, you gotta heard about the Bear
    Jew?

    SGT. RACHTMAN
    I heard.

    LT. ALDO
    What did you hear?

    SGT. RACHTMAN
    He beats German soldiers with a club.

    LT. ALDO
    He bashes their brains in with a baseball bat,
    what he does.

    SGT. DONOWITZ
    back to us, still haven’t seen his face. He Babe Ruths a
    rock soaring into the atmosphere.

    LT. ALDO
    Now, Werner, I’m gonna ask you one
    last goddamn time, and if you still
    “respectfully refuse,” I’m calling the Bear Jew
    over here, and he’s gonna take that big bat of
    his, and he’s gonna beat your ass to death with
    it.
    Now take your Wiener-schnitzel-lickin’ finger
    and point out on this map
    what I want to know.
    Genres: ["War","Drama"]

    Summary Lt. Aldo Raine recruits Sgt. Hugo Stiglitz, a German soldier known for killing Gestapo officers, to join the Basterds. He shows him a map and demands information about a German patrol in an orchard nearby. Sgt. Werner refuses to cooperate, leading Lt. Aldo to threaten him with the Bear Jew, another Basterd known for brutally killing German soldiers with a baseball bat.
    Strengths "The scene effectively establishes tension and introduces a new character with an interesting backstory. The dialogue is intense and memorable."
    Weaknesses "Some viewers may find the violence and threats in the scene disturbing. The scene could benefit from more character development for Sgt. Werner."

    Ratings
    Overall

    Overall: 8

    The scene is well-executed and tense, effectively establishing the Basterds' reputation and showcasing their methods.


    Story Content

    Concept: 7

    The concept of recruiting a German soldier to join a group of Jewish-American soldiers is intriguing and adds depth to the story.

    Plot: 9

    The plot progresses as Lt. Aldo recruits Sgt. Hugo Stiglitz and confronts Sgt. Werner for information.

    Originality: 6

    The level of originality in this scene is moderate. While the concept of a group of soldiers fighting against Nazis is familiar, the inclusion of the Basterds, their unique personalities, and the dark humor injected into their interactions adds a fresh approach to the genre. The authenticity of the characters' actions and dialogue also contributes to the originality of the scene.


    Character Development

    Characters: 8

    The characters, especially Lt. Aldo and Sgt. Hugo Stiglitz, are compelling and well-developed.

    Character Changes: 6

    Sgt. Werner doesn't undergo significant change, but the introduction of Sgt. Hugo Stiglitz adds complexity to the Basterds' team.

    Internal Goal: 7

    The protagonist's internal goal in this scene is to recruit Sgt. Hugo Stiglitz, a renowned Nazi killer, to join the Basterds and enhance their efforts in killing Nazis. This reflects the protagonist's desire to assemble a skilled team and strengthen their cause against the Germans.

    External Goal: 8

    The protagonist's external goal in this scene is to gather information about a German patrol in the area, including their location, number, and artillery. This goal reflects the immediate challenge of dealing with the German presence and ensuring the safety of the Basterds.


    Scene Elements

    Conflict Level: 8

    There is a high level of conflict in this scene, both in the verbal exchanges and the threat of violence.

    Opposition: 8

    The opposition in this scene is strong, as the German soldiers refuse to cooperate and provide information. This creates a sense of conflict and uncertainty, as the outcome is uncertain and the stakes are high.

    High Stakes: 7

    The stakes are high as Sgt. Werner's life is in danger and the Basterds' success in locating the German patrol is crucial.

    Story Forward: 8

    The scene moves the story forward by recruiting Sgt. Hugo Stiglitz, advancing the mission to kill Nazis.

    Unpredictability: 7

    This scene is unpredictable because it presents unexpected twists and turns, such as the revelation of Sgt. Hugo Stiglitz and the threat of the Bear Jew. These elements add suspense and keep the audience guessing.

    Philosophical Conflict: 6

    The philosophical conflict evident in this scene is the clash between the Basterds, who are committed to killing Nazis, and the German soldiers who refuse to divulge information. This conflict challenges the protagonist's belief in the necessity of sacrifice and the righteousness of their cause.


    Audience Engagement

    Emotional Impact: 9

    The scene elicits strong emotions, especially through the intense dialogue and the introduction of the Bear Jew.

    Dialogue: 7

    The dialogue effectively conveys the tension and power dynamics between the characters.

    Engagement: 8

    This scene is engaging because it introduces intriguing characters, creates tension through dialogue and conflict, and presents a unique premise in a familiar setting. The interactions between the characters and the anticipation of what will happen next keep the audience's attention.

    Pacing: 8

    The pacing of the scene is effective in building tension and maintaining the audience's interest. The dialogue exchanges are snappy and concise, while the narrative description keeps the pacing smooth and focused.


    Technical Aspect

    Formatting: 9

    The formatting of this scene follows the expected format for its genre, with proper use of scene headings, action lines, and dialogue. It is well-organized and easy to follow.

    Structure: 9

    The structure of this scene follows the expected format for its genre, with clear dialogue and narrative description. It introduces the characters, establishes their goals, and presents the conflict in a coherent and engaging manner.


    Critique As a screenwriting expert, here is my critique of the scene:

    1. Clear character introductions: The scene does a good job of introducing Lt. Aldo and Sgt. Hugo Stiglitz, as well as their reputations and roles within the group of Basterds. It sets up their relationship and establishes their expertise in killing Nazis.

    2. Visual storytelling: The use of the narrator and visuals, such as the photos and military newspaper, effectively convey the backstory of Sgt. Hugo Stiglitz and his reputation among German soldiers. This adds depth to the character and creates intrigue for the audience.

    3. Dialogue and tension: The dialogue in the scene is strong, creating an intense and suspenseful atmosphere. Lt. Aldo's threats and the clear power dynamic between the Basterds and Sgt. Werner create tension and engage the audience. The use of humor and banter also adds to the compelling nature of the scene.

    4. Setting and atmosphere: The scene effectively uses the French countryside as a backdrop for the interrogation and sets a specific tone for the story. The contrast between the peaceful countryside and the brutal actions of the Basterds adds to the intensity and conflict of the scene.

    Suggestions for improvement:

    1. Clarity of objectives: While Lt. Aldo's objective is clear, it would be helpful to establish Sgt. Werner's objective in the scene as well. What is he hoping to achieve by withholding the information? This would add further depth to the conflict between the characters.

    2. Emotional stakes: While the scene establishes the physical danger that Sgt. Werner faces, it could benefit from delving deeper into the emotional stakes for him. What is he risking by providing the information? How does he feel about the conflict between the Basterds and the German army? Adding emotional complexity to his character can heighten the tension and audience investment in the scene.

    3. Visual imagery: The scene could benefit from more visual imagery to enhance the impact and create a stronger visual experience for the audience. This could include utilizing the French countryside setting more effectively or incorporating visual cues to emphasize the power dynamics.

    Overall, the scene effectively establishes the characters, creates tension, and develops the storyline. With a few adjustments to objectives, emotional stakes, and visual imagery, it has the potential to be an even stronger and more engaging scene.
    Suggestions Overall, this scene does a good job of setting up the characters and their relationships, as well as establishing the tension and stakes. However, here are some suggestions to improve the scene:

    1. Clarify the characters: Provide more visual descriptions or actions for each character to make them more distinct and memorable. This will help the audience differentiate between Lt. Aldo, Sgt. Stiglitz, and the other Basterds.

    2. Show, don't tell: Instead of relying solely on dialogue and narration to deliver information, consider incorporating visuals or actions that help convey the story. For example, rather than simply showing photos of Hugo and Gestapo officers, show a flashback or quick montage of the events being described.

    3. Tighten the dialogue: While the dialogue is engaging, some parts could benefit from being more concise. Consider trimming down unnecessary words or phrases to streamline the conversation and maintain a quicker pace.

    4. Build suspense: Add more tension and suspense to the scene by using camera angles, lighting, or sound design to enhance the atmosphere. This will create a more dynamic and captivating visual experience for the audience.

    5. Create emotional depth: Explore the emotional journey of the characters in this scene. Show their reactions and internal conflicts more explicitly to help audience connect with them on a deeper level.

    6. Utilize the setting: Take advantage of the French countryside setting to add visual interest and immersive details to the scene. Show the surroundings and incorporate them into the dialogue or character interactions, making the scene more engaging for the audience.

    7. Consider character arcs: Think about the character arc and development for each character in the scene. How can they grow or change throughout this particular scene, and how does it connect to their overall journey in the story?

    Remember, these suggestions are subjective, and ultimately, it's up to you as the screenwriter to decide what works best for your script.



    Scene 9 -  Recruitment and Preparation
    SGT. RACHTMAN
    Fuck you and your Jew dogs.
    [30]



    Instead of getting mad, the Basterds burst out LAUGHING.

    Also says to Werner, with a giggle in his voice:

    LT. ALDO
    Actually, Werner, we’re all tickled
    ya said that. Frankly, watchin’ Donny beat
    Nazis to death is the closest
    we ever get to goin’ to the movies.
    (YELLING)
    DONNY!

    SGT. DONOWITZ
    He turns to the CAMERA and yells:

    SGT. DONOWITZ
    Yeah?

    LT. ALDO
    Got a German here wants to die for his country.
    Oblige him.

    SGT. DONNY DONOWITZ
    bat over his shoulder, smiles.

    CUT TO

    INT—BARBER SHOP (BOSTON)—DAY

    Donny, cutting heads, in his pop’s barber shop, in Boston.

    DONNY
    . . . ya got the goddamn, fuckin’ Germans,
    declaring open season on Jews in
    Europe, and I’m suppose to fly to the fuckin’
    Philippines and fight a bunch
    of fuckin’ Japs—not me, pal.
    If we just go in this against the Japs,
    the whole U.S. of fuckin A can go take a
    running jump at the moon.

    HEAD
    You know, they got a word for what you’re
    sayin’ Donny. It’s called treason.

    DONNY
    Hey, stick your treason up your poop hole. If
    I’m gonna kill my fellow man
    in the name of liberty, that fellow
    man will be German.
    [31]



    INT—SPORTING GOODS STORE—DAY

    MR. GOOROWITZ’S sporting goods shop in Donny’s Jewish Boston
    neighborhood. Donny walks in.

    MR. GOOROWITZ
    Hello, Donny. How are you?

    DONNY
    Ah, just dandy, Mr. Goorowitz.

    MR. GOOROWITZ
    Your mother, your father—everything
    good there?

    DONNY
    They’re just fine. I’m shippin’ off next week.

    The store proprietor extends his hand to the young man.

    MR. GOOROWITZ
    Good for you, son. Kill one of those Nazi
    basterds for me, will ya?

    DONNY
    That the idea, Mr. Goorowitz.

    MR. GOOROWITZ
    What can I do you for, Donny?

    DONNY
    I need a baseball bat.

    The store owner leads him to a basket with eight bats in it. Donny
    starts going through them without saying anything.

    Mr. Goorowitz watches.

    MR. GOOROWITZ
    You gettin’ your little brother a present
    before you ship out?

    Donny, concentrating on the bats, not looking up:

    DONNY
    No.

    Donny’s “no” silences the gabby Goorowitz. He seems to
    settle on one, feeling its weight in his hands.

    DONNY
    Can I try this one on for size, outside?
    [32]



    Extending his arm:

    MR. GOOROWITZ
    Be my guest.

    The phone rings.

    MR. GOOROWITZ
    I’ll get that. You go right ahead.

    The proprietor answers the phone and gets into a
    conversation with his OFFSCREEN mother.

    Donny walks outside. WE STAY IN STORE but can see him
    clearly through the store’s big picture window.

    However, Mr. Goorowitz instinctively turns his back to Donny
    to speak with his mother.

    Donny starts swinging the bat. It’s pretty obvious he’s pantomiming
    beating somebody to death with it. Then
    he starts yelling:

    DONNY
    Take that, ya Nazi basterd! You like
    fuckin’ with the Jews? Wanna fuck with the Jews?
    The American Jews are gonna FUCK with you . . . !

    Mr. Goorowitz sees none of this as he speaks to his
    mother. He hangs up the phone just as Donny walks back into
    the store. The store owner turns to the store customer.

    DONNY
    Is this the heaviest ya got?

    CUT TO

    INT—HALLWAY APARTMENT BUILDING—DAY

    Donny, dressed nice, in an apartment building in his Jewish Boston
    neighbourhood. He knocks on a door.

    A VERY OLD JEWISH WOMAN opens the door, only a little,
    peering out at the young man.

    OLD WOMAN
    How can I help you?

    DONNY
    Mrs. Himmelstein?

    MRS. HIMMELSTEIN
    State your business, young man.
    [33]



    DONNY
    Mrs. Himmelstein, I’m Donny Donowitz.
    My father, Sy Donowitz, owns the barber shop on
    Greeny Ave. Sy’s Barber Shop.

    MRS. HIMMELSTEIN
    I’ve seen it. Do you live in the neighborhood?

    DONNY
    All my life.

    MRS. HIMMELSTEIN
    Again, state your business?

    DONNY
    May I have a word with you?

    MRS. HIMMELSTEIN
    What about?

    DONNY
    Our people in Europe.

    She thinks for a beat, then holds the door open for the
    young man.

    MRS. HIMMELSTEIN
    Come in. Would you like some tea?

    INT—MRS. HIMMELSTEIN’S APARTMENT—DAY

    Donny sits on an overstuffed sofa, holding a tea cup and
    saucer in his hand. Mrs. Himmelstein sits on an overstuffed chair,
    holding her tea, looking across at her visitor.

    DONNY
    (sipping tea)
    Very good.

    MRS. HIMMSELSTEIN
    If you like tea.

    Donny chuckles at her little joke. The old woman remains
    stone. She wasn’t joking. He places his saucer on the coffee table
    and begins:
    Genres: ["war","drama"]

    Summary Lt. Aldo Raine recruits Sgt. Hugo Stiglitz to join the Basterds and threatens Sgt. Werner with the Bear Jew's brutality. Donny Donowitz prepares for war by practicing with a baseball bat and expressing his determination to kill Nazis. Donny also visits an old Jewish woman to discuss their people in Europe.
    Strengths
    • Engaging dialogue
    • Distinct and memorable characters
    • Mix of serious and humorous moments
    Weaknesses
    • Lack of significant plot developments

    Ratings
    Overall

    Overall: 8

    The scene effectively sets up the motivations and personalities of the characters, while also providing a mix of serious and humorous moments. The dialogue is engaging and helps to build tension and anticipation for the upcoming mission.


    Story Content

    Concept: 8

    The concept of a Jewish-American team infiltrating enemy territory to kill Nazis is unique and captivating. The scene effectively establishes the Basterds' mission and their methods of warfare, creating intrigue and curiosity.

    Plot: 7

    The plot of the scene focuses on recruitment and preparation for the mission, as well as Donny's personal determination. While it doesn't introduce significant plot developments, it sets the stage for future events and builds anticipation for the mission.

    Originality: 7

    The level of originality in this scene is moderate. While the general theme of fighting against oppression and injustice has been explored before, the specific context of World War II and the perspective of a Jewish soldier adds fresh nuances. The authenticity of the characters' actions and dialogue contributes to the credibility of the scene.


    Character Development

    Characters: 9

    The characters in this scene, including Lt. Aldo Raine, Sgt. Hugo Stiglitz, and Donny Donowitz, are distinct and memorable. Their dialogue and actions reveal their motivations and personalities, making them engaging and intriguing.

    Character Changes: 6

    There is a slight character change for Donny Donowitz, as he further solidifies his determination to kill Nazis and actively seeks support from the Jewish community. Lt. Aldo Raine also showcases his leadership skills and determination to succeed.

    Internal Goal: 10

    The protagonist's internal goal in this scene is to express his deep anger and desire for vengeance against the Nazis. This reflects his need to protect his people and his fear of what the Nazis are doing to Jews in Europe.

    External Goal: 8

    The protagonist's external goal in this scene is to prepare for his upcoming deployment and gather support from his community for his fight against the Nazis. It reflects the immediate circumstances of being at war and the challenges he will face in combat.


    Scene Elements

    Conflict Level: 6

    There is a moderate level of conflict in this scene, primarily through the recruitment and intimidation tactics used by Lt. Aldo Raine and the determination of Donny Donowitz. The conflict is mainly driven by the characters' motivations and the impending mission.

    Opposition: 8

    The opposition in this scene is relatively strong. While there are no physical obstacles or conflicts, the perspective of others who view Donny's views as treasonous creates tension and challenges his beliefs. The audience is unsure of how this conflict will play out.

    High Stakes: 7

    The stakes are relatively high in this scene, as the characters are preparing for a dangerous mission and expressing their commitment to fight against the Nazis. The outcome of their actions could have significant consequences for both themselves and the war effort.

    Story Forward: 7

    While this scene doesn't introduce significant plot developments, it sets up the motivations and preparations for the upcoming mission. It helps to establish the characters and their goals, building anticipation for future events.

    Unpredictability: 7

    This scene is somewhat unpredictable because it incorporates unexpected moments of humor and shifts in tone. The audience doesn't know how the interactions between Donny and the various characters will unfold and how they will contribute to his overall journey.

    Philosophical Conflict: 9

    There is a philosophical conflict evident in this scene between Donny's belief in fighting against the Nazis to protect his people and the perspective of others who view his views as treasonous. It challenges Donny's values and worldview as he tries to justify his decision to only kill Germans.


    Audience Engagement

    Emotional Impact: 7

    The scene evokes a sense of determination, defiance, and anticipation. It highlights the emotional intensity of the characters' commitment to fighting back against the Nazis and the gravity of the upcoming mission.

    Dialogue: 8

    The dialogue in this scene is well-written, with a mix of serious and humorous moments. It effectively conveys the characters' motivations, builds tension, and provides insights into their personalities.

    Engagement: 8

    This scene is engaging because it captures the essence of the protagonist's determination and the support he receives from his community. The bold dialogue, humor, and strong emotions keep the audience invested in the characters and their goals.

    Pacing: 9

    The pacing of the scene contributes to its effectiveness by maintaining a sense of urgency and momentum. The transitions between locations and interactions with different characters keeps the scene dynamic and prevents it from feeling stagnant.


    Technical Aspect

    Formatting: 9

    The formatting of this scene follows the expected format for its genre. The scene headings and descriptions are clear and provide a visual understanding of the setting and actions. The dialogue is formatted correctly with clear attributions and transitions between characters.

    Structure: 9

    The structure of this scene follows the expected format for its genre. It begins with a confrontation between the Basterds and SGT. RACHTMAN, then transitions to a series of scenes that showcase Donny's interactions with different characters, highlighting his internal and external goals.


    Critique As a screenwriting expert, I would critique this scene as follows:

    1. Dialogue: The dialogue in this scene is engaging and helps to establish the characters and their relationships. The banter between SGT. RACHTMAN and the Basterds, as well as the conversation between Donny and the store proprietor, feels natural and showcases their personalities. The dialogue also effectively conveys the Basterds' attitude towards killing Nazis and their determination to fight for their country.

    2. Pacing: The scene moves at a good pace, with the dialogue and actions driving the story forward. The transition between different locations is smooth and maintains the flow of the scene.

    3. Character development: The scene provides insights into the personalities of the Basterds and Donny. It shows their humor, determination, and their commitment to fighting Nazis. The interactions with other characters, such as the store proprietor and Mrs. Himmelstein, help to further develop their relationships within the story.

    4. Visuals: The scene effectively uses visuals to enhance the storytelling. The pantomiming of beating someone to death with the bat by Donny and his yelling outside the sporting goods store adds intensity and visual impact to the scene. The inclusion of these visual elements helps to engage the audience and create a memorable scene.

    Overall, this scene effectively combines engaging dialogue, character development, and visual elements to create an impactful and entertaining scene.
    Suggestions Overall, the scene is strong and serves to establish Donny's character and motivations. However, here are some suggestions to improve the scene:

    1. Clarify the location transitions: It's not clear how the scene transitions from the bar scene with the Basterds to Donny's pop's barber shop in Boston. Consider adding a brief description or a transitional element to make it clearer.

    2. Show more reaction in the barber shop scene: When Donny expresses his frustration with going to fight in the Philippines instead of the Nazis, it would be helpful to show some reaction from the Head and other customers in the barber shop. Their expressions and comments can highlight the tension and differing opinions in the room.

    3. Make the conversation with Mr. Goorowitz more meaningful: Consider expanding on the conversation between Donny and Mr. Goorowitz in the sporting goods store. This can provide more insight into their relationship and further establish Donny's determination to fight the Nazis.

    4. Add a visual element to the bat swinging scene: Instead of just describing Donny swinging the bat outside the store, consider adding a visual element to make the scene more impactful. Maybe include a close-up shot of Donny's face, showing his intensity and determination.

    5. Provide more context for Donny's visit to Mrs. Himmelstein: Clarify why Donny specifically chose to visit Mrs. Himmelstein and what he hopes to achieve through their conversation. This will make the scene more meaningful and give it a clear purpose.

    6. Strengthen the conversation between Donny and Mrs. Himmelstein: Expand on the conversation between Donny and Mrs. Himmelstein to explore their shared concerns for their people in Europe. This can help deepen Donny's character and highlight the gravity of the situation.



    Scene 10 -  Donny's Mission
    DONNY
    Mrs. Himmelstein, do you have any loved ones
    over in Europe who you’re concerned for?
    [34]



    MRS. HIMMELSTEIN
    What compels you, young man, to ask a stranger
    such a personal question?

    DONNY
    Because I’m going to Europe. And I’m gonna make
    it right.

    MRS. HIMMELSTEIN
    And just how do intend to do that, Joshua?

    He holds up his bat.

    DONNY
    With this.

    MRS. HIMMELSTEIN
    And what exactly do you intend to do with that
    toy?

    DONNY
    I’m gonna beat every Nazi I find to
    death with it.

    She takes another sip of tea.

    MRS. HIMMELSTEIN
    I thought we were having tea together.

    Donny picks up his cup and takes a sip.

    MRS. HIMMELSTEIN
    And in this pursuit, how is it that I can be of
    service?

    DONNY
    I’m going through the neighborhood.
    If you have any loved ones in Europe whose
    safety you fear for, I’d like
    you to write their name on my bat.

    BACK TO BASTERDS
    Donna takes a long walk to Werner . . .

    PVT. BUTZ
    watches all this . . .

    As WE CUT BACK and FORTH BETWEEN DONNY WALKING and WERNER WAITING,
    WE ALSO CUT BACK AND FORTH BETWEEN DONNY and
    MRS. HIMMELSTEIN . . .

    MRS. HIMMELSTEIN
    You must be a real basterd, Donny.
    [35]



    DONNY
    You bet your sweet ass I am.

    MRS. HIMMELSTEIN
    Hand me your sword, Gideon. I do believe I will
    join you on this journey.
    She signs the BAT: “MADELEINE.”
    Donny steps up to the plate, looking down at the Nazi:
    He sees the Iron Cross hanging from the German Sgt’s right pocket.
    The Jew taps the German’s medal with the end of his bat.
    DONNY
    You get that for killing jews?
    SGT RACHTMAN
    Bravery.

    Donny gives him a “oh yeah, we’ll see about that,” look.

    The Bear Jew raises the bat up high over his shoulder and brings it
    down hard against the side of Rachtman’s head.

    Donny BEATS Werner TO DEATH WITH THE BAT, to the cheers of
    the Basterds.

    PVT. BUTZ
    watches. Hirschberg says to him:
    PFC. HIRSCHBERG
    About now, I’d be shittin’ my pants, if I was
    you.
    Aldo points a finger at Butzs and crooks it toward him.
    A crying, visibly shaken Butz sits down in front of Aldo.
    LT. ALDO
    You wanna live?

    PVT. BUTZ
    Yes, sir.

    LT. ALDO
    Point out on this map the German position.

    His arm shoots out like a rocket and points out the positions.
    [36]



    PVT. BUTZ
    This area here.

    LT. ALDO
    How many?

    PVT. BUTZ
    Maybe twelve.

    LT. ALDO
    What kind of artillery?

    PVT BUTZ
    They have a machine gun dug in here pointing
    north.

    BACK TO HITLER

    HITLER
    How did you survive this ordeal?

    WE SEE Pvt. Butz in the Führer’s room for the first time.
    He wears a Nazi cap, which is unusual in the presence of the
    Führer, but he seems okay with it.

    PVT. BUTZ
    They let me go.

    FROM HERE ON WE GO BACK AND FORTH BETWEEN ALDO AND HITLER.

    LT. ALDO
    Now, when you report what happened here,
    you can’t tell ’em you told us what you
    told us. They’ll shoot ya. But they’re gonna
    wanna know, why you so special, we let you
    live? So tell ’em we let ya live so you
    could spread the word through the ranks
    what’s gonna happen to every Nazi we find.

    HITLER
    You are not to tell anybody anything! Not one
    word of detail! Your outfit
    was ambushed, and you got away.
    Not one more word.

    PVT. BUTZ
    Yes, mein Führer.

    Pause.

    HITLER
    Did they mark you like they did the other
    survivors?
    [37]



    PVT. BUTZ
    Yes, mein Führer.

    HITLER
    Remove your hat and show me.

    LT. ALDO
    Now say we let ya go, and say you survive the
    war? When you get back
    home, what ’cha gonna do?

    PVT. BUTZ
    I will hug my mother like I’ve never hugged her
    before.

    LT. ALDO
    Well, ain’t that a real nice boy. Are you going
    to take off your uniform?

    PVT. BUTZ
    Not only shall I remove it, but I intend to
    burn it!

    The young German is telling Aldo what he thinks Aldo wants
    to hear. But the last answer didn’t go down as well as he
    thought it would, as is evident by the frown on Aldo’s face.

    LT. ALDO
    Yeah, that’s what we thought. We don’t like
    that. You see, we like our Nazis
    in uniforms. That way, you can spot ’em just
    like that.
    (snaps his fingers)
    But you take off that uniform, ain’t nobody
    gonna know you was a Nazi.
    And that don’t sit well with us.

    Aldo removes a LARGE KNIFE from a sheath on his belt.

    LT. ALDO
    So I’m gonna give ya a little somethin’ you
    can’t take off.
    Genres: ["War","Historical","Drama"]

    Summary Donny, a member of the Basterds, visits Mrs. Himmelstein and expresses his determination to kill Nazis. He asks her to write the names of loved ones in Europe on his bat. Donny then goes to confront a German soldier, Werner, who he beats to death with the bat. Pvt. Butz is interrogated by Hitler and Aldo, who let him go but warn him not to reveal anything. Butz agrees and talks about hugging his mother and burning his uniform. However, Aldo is suspicious and threatens Butz with a knife.
    Strengths
    • Intense and gripping
    • Strong performances
    • Effective dialogue
    Weaknesses
    • Some may find the violence too brutal

    Ratings
    Overall

    Overall: 8

    The scene is intense and gripping, with strong performances and impactful moments.


    Story Content

    Concept: 7

    The concept of the scene, focusing on the Basterds' mission and their brutal tactics, is well executed.

    Plot: 8

    The plot of the scene is engaging and moves the story forward as Donny recruits Mrs. Himmelstein and carries out the brutal killing of Werner.

    Originality: 7

    The scene showcases originality through the juxtaposition of violence and humor within the World War II setting. The dialogue feels authentic and captures the ideological conflicts of the time. The characters' actions and dialogue contribute to a fresh approach to the revenge genre.


    Character Development

    Characters: 9

    The characters are well-developed and their motivations are clear, especially Donny and Aldo.

    Character Changes: 7

    Donny remains determined to kill Nazis, and Butz is forced to hide important details from Hitler.

    Internal Goal: 9

    The protagonist's internal goal in this scene is to seek justice and vengeance for the atrocities committed by the Nazis. It reflects his deeper need for justice, his fear of the Nazis' power and influence, and his desire to bring an end to their reign.

    External Goal: 8

    The protagonist's external goal in this scene is to gather information about loved ones in Europe who may be endangered by the war. It reflects the immediate circumstances of the war and the challenges faced by the protagonist to protect and help others.


    Scene Elements

    Conflict Level: 9

    There is a high level of conflict in the scene, both physical and psychological, as Donny confronts Werner and Aldo interrogates Butz.

    Opposition: 9

    The opposition in the scene is strong, as the protagonist faces skepticism and resistance from Mrs. Himmelstein. The audience is uncertain about how the conflict between the characters will unfold.

    High Stakes: 8

    The stakes are high as the Basterds continue their mission to kill Nazis, and Butz faces consequences if he reveals too much.

    Story Forward: 9

    The scene moves the story forward as Donny recruits Mrs. Himmelstein and gathers information about German positions.

    Unpredictability: 8

    This scene is unpredictable because it includes unexpected twists and turns in the dialogue and actions. The audience doesn't know how the conflict between characters will resolve or what the ultimate outcome will be.

    Philosophical Conflict: 7

    The philosophical conflict evident in this scene is the clash between the protagonist's belief in seeking justice through violence and Mrs. Himmelstein's skepticism about the effectiveness and moral implications of his actions. This conflict challenges the protagonist's beliefs and values, forcing him to confront the potential consequences of his choices.


    Audience Engagement

    Emotional Impact: 8

    The scene evokes strong emotions, especially during the brutal killing of Werner and the tense interrogation of Butz.

    Dialogue: 7

    The dialogue is impactful and effectively conveys the emotions and intentions of the characters.

    Engagement: 9

    This scene is engaging because it presents a high-stakes situation with intense dialogue and confrontations. The protagonist's determination and the opposition he faces create suspense and curiosity about the outcome.

    Pacing: 8

    The pacing of the scene is well-paced, creating a sense of urgency and tension. The back-and-forth dialogue and quick action sequences contribute to the effectiveness of the scene.


    Technical Aspect

    Formatting: 9

    The formatting of this scene follows the expected format for its genre. It uses proper scene headings, clear character names, and dialogue format.

    Structure: 8

    The structure of this scene follows the expected format for its genre. It establishes the conflict between characters, presents the protagonist's goals, and moves the story forward through dialogue and actions.


    Critique Overall, the scene is intense and suspenseful, with strong dialogue and tension between the characters. The exchanges between Donny and Mrs. Himmelstein show their determination and a sense of vigilante justice. However, there are a few areas that could be improved:

    1. Clarity of character motivations: While it is clear that Donny wants to fight Nazis and Mrs. Himmelstein eventually decides to join him, it would benefit the scene to have a clearer understanding of their personal motives. This would strengthen their actions and make their decision to fight together more impactful.

    2. Transition between scenes: The abrupt transition from Donny walking to Werner waiting, and the back and forth between Donny and Mrs. Himmelstein, can be somewhat confusing. Consider using clearer scene headings or visual cues to help the reader follow the action more smoothly.

    3. Pacing and description: The action of Donny beating Werner to death with the bat is described in minimal detail, which may not fully capture the intensity of the scene. Adding more vivid language to describe the violence and the characters' reactions can help enhance the impact of this moment.

    4. Logic: It may be worth exploring how Donny and Mrs. Himmelstein would have tea together while Donny is planning to beat Nazis to death with his bat. This sequence of events feels somewhat contradictory and could benefit from further development or explanation.

    Despite these points, the scene effectively conveys the tension and determination of the characters and provides an engaging dialogue exchange. With a few adjustments to character motivations, scene transitions, pacing, and logic, this scene has the potential to be even stronger.
    Suggestions Here are some suggestions to improve the scene:

    1. Clarify character motivations: It would be helpful to establish why Donny is asking Mrs. Himmelstein about her loved ones in Europe. Perhaps he can mention earlier in the script that his mission is to save as many Jewish people as possible.

    2. Add more tension: The dialogue between Donny and Mrs. Himmelstein lacks suspense and conflict. Consider adding more opposition from Mrs. Himmelstein or a sense of urgency from Donny to make the scene more engaging.

    3. Develop Mrs. Himmelstein's decision to join Donny: Mrs. Himmelstein's decision to sign the bat and join Donny's mission feels sudden and not fully motivated. Take the time to establish her character and build up to this decision, so it feels more organic and satisfying.

    4. Enhance the action: The action sequences, like Donny beating Werner to death with the bat and Aldo showing Pvt. Butz the large knife, could benefit from more detailed descriptions to increase tension and impact. Use imagery to create vivid and intense visual moments.

    5. Smooth transitions: The scene jumps abruptly between Donny and Werner, Private Butz, Hitler, and Aldo. Consider using smoother transitions, such as visual cues or parallel actions, to link the different characters and narratives together more cohesively.

    6. Improve dialogue: Some of the dialogue feels a bit on the nose and could be refined to sound more authentic and natural. Take the time to make sure each character's voice is distinct and consistent throughout the scene.

    7. Show more emotional reactions: In emotional scenes, like when Pvt. Butz plans to hug his mother or when Aldo reacts negatively to Butz's answer about burning his uniform, make sure to show the characters' emotions more explicitly. This will help the audience connect with the characters and understand their motivations better.

    Overall, the scene could benefit from more tension, clearer character motivations, and smoother transitions to enhance the impact of the story.



    Scene 11 -  Shosanna's Sanctuary
    BACK TO HITLER
    Pvt. Butz removes his combat helmet. Hair hangs in his face. He
    moves it aside, and WE SEE a SWASTIKA has been HAND-
    CARVED INTO HIS FOREHEAD.

    BACK TO BASTERDS
    BUTZ’S POV
    on ground, looking up at them. Aldo has just carved the
    swastika, and he’s holding the bloody knife. All the
    Basterds crowd around to admire his handiwork.
    [38]



    SGT. DONOWITZ
    You know, Lieutenant, you’re getting pretty
    good at that.

    LT. ALDO
    You know how you get to Carnegie Hall, don’t
    cha? Practice.

    FADE TO BLACK

    OVER BLACK

    CHAPTER TITLE APPEARS:

    CHAPTER THREE

    “GERMAN NIGHT IN PARIS”

    INT—CINEMA AUDITORIUM—NIGHT

    We’re in the auditorium of a cinema in Paris. However, the
    CAMERA is pointed in the direction of the audience, not the screen.
    We start CLOSE on the projector beam emanating from
    the little glass window in the back of the theater.

    The CAMERA continues to DOLLY back, making the shot wider and
    wider, bringing in more and more the German-occupied citizens
    of Paris, who stare at the OFFSCREEN silver screen in the dark.

    We can hear the OFFSCREEN SOUNDTRACK of a Goebbels-produced German
    omm-pa-pa musical movie being projected.

    The shot continues to pull farther and farther back, and the German
    dialogue continues to fill the auditorium . . .
    UNTIL . . .
    The DOLY SHOT LANDS on a CLOSEUP of Shosanna, watching the
    movie.

    A SUBTITLE APPEARS:
    “SHOSANNA DREYFUS
    TWO WEEKS AFTER THE MASSACRE
    OF SHOSANNA’S FAMILY”

    We hear the sound of the German musical’s climax.

    The lights go up in the auditorium.

    Shosanna, dressed in a NURSE’S UNIFORM she swiped from
    somewhere, remains seated, as the rest of the PATRONS gather their
    coats and file out.
    [39]



    EXT—LITTLE CINEMA (PARIS)—NIGHT

    Patrons exit under the cinema marquee, as someone from inside SHUTS
    OFF the marquee’s lights.

    The MARQUEE READS in French:

    “GERMAN NIGHT BRIDGET VON HAMMERSMARK in MADCAP IN MEXICO.”

    EXT—PROJECTION BOOTH (LITTLE CINEMA)

    A French black man, who we will learn later is named MARCEL,
    is the cinema’s projectionist. We see him for a moment, taking the
    film reels off the projector and placing them on rewinds.

    INT—AUDITORIUM

    CU SHOSANNA
    Still sitting in her seat. Except for her, the auditorium is empty.

    The owner of the cinema, an attractive-looking French woman,
    who we will later know as MADAME MIMIEUX, appears in
    one of the cinema’s opera-box balconies.

    Looking down from her porch at the young girl, sitting in
    the empty cinema.

    The DIALOGUE will be spoken in FRENCH and SUBTITLED IN
    ENGLISH.

    MADAME MIMIEUX
    So, young woman, since it’s beyond obvious we’re
    closed for the evening, I must assume you want
    something. What can I do for you?

    SHOSANNA
    May I sleep here tonight?

    MADAME MIMIEUX
    So I gather you’re not a nurse?

    SHOSANNA
    No.

    MADAME MIMIEUX
    But you’re a bright little thing. That’s a
    clever disguise. Where is your family?

    SHOSANNA
    Murdered.
    [40]



    MADAME MIMIEUX
    So you’re a war orphan?

    SHOSANNA
    We were from Nancy. The Boches found us—

    MADAME MIMIEUX
    —Is this a sad story?

    SHOSANNA.
    Oui.

    MADAME MIMIEUX
    Sad stories bore me. These days everyone in
    Paris has one. I haven’t bored you with mine.
    Don’t bore me with yours.

    SHOSANNA
    You can run the machines?

    MADAME MIMIEUX
    What machines?

    Using her hands to pantomime the rotating film reels on a
    projector, she says:

    SHOSANNA
    The machines that show the film.

    MADAME MIMIEUX
    The projectors? Yes, I own a cinema.
    Of course I can operate them.

    SHOSANNA
    I know, I saw you.

    FLASH ON:

    CU SHOSANNA
    eyes creeping up the stairway in the projection booth,
    watching . . .

    MADAME MIMIEUX
    expertly working the projectors . . .

    BACK TO SHOSANNA

    SHOSANNA
    Teach me. Teach me to run the machines that
    show the film. It’s only you and
    the negro. I know you could use some help.
    [41]



    MADAME MIMIEUX
    I know at least six people who’ve been put up
    against a wall and machine-
    gunned for sheltering enemies of the state. I
    have no intention of being unlucky number
    seven. How long have
    you been in Paris?

    SHOSANNA
    A week and a few days.

    MADAME MIMIEUX
    How have you survived the curfew
    without capture?

    SHOSANNA
    I sleep on rooftops.

    MADAME MIMIEUX
    Again, I’m forced to admit, clever
    girl. How is it?

    SHOSANNA
    Cold.

    MADAME MIMIEUX
    (laughs)
    I can imagine.

    SHOSANNA
    Respectfully, no you can’t.

    Pause.

    MADAME MIMIEUX
    Fair enough.

    Thinks . . .

    MADAME MIMIEUX
    So you can’t operate a 35mm film projector. You
    want me to teach you, in order to work here, in
    order to use my cinema as a hole to hide in. Is
    that correct?
    Genres: ["War","Drama"]

    Summary Pvt. Butz is marked with a swastika by Lt. Aldo Raine, earning the respect of his fellow Basterds. Meanwhile, Shosanna seeks refuge in a Paris cinema and approaches the owner, Madame Mimiex, to learn how to operate the film projectors as a means of protection.
    Strengths "Strong character development, intense dialogue, effective use of tension and suspense."
    Weaknesses "Lack of diversity in perspective, reliance on war tropes."

    Ratings
    Overall

    Overall: 8

    The scene effectively builds tension and establishes the dangerous circumstances the characters find themselves in. The dialogue is impactful and the setting adds to the dark and suspenseful tone of the scene.


    Story Content

    Concept: 7

    The concept of using a cinema as a sanctuary during war is unique and provides an interesting backdrop for the characters' interactions and their attempt to survive.

    Plot: 8

    The scene progresses the plot by showing the recruitment of Sgt. Hugo Stiglitz into the Basterds and Shosanna's search for safety. The introduction of Butz as a marked member of the Basterds adds an element of danger and tension.

    Originality: 8

    This scene presents a fresh approach to the setting of German-occupied Paris during World War II by focusing on a cinema and the protagonist's desire for safety. The authenticity of the characters' actions and dialogue reflects the reality of occupied Paris.


    Character Development

    Characters: 8

    The characters in the scene are well-developed and their actions and dialogue reflect their motivations and personalities. Lt. Aldo Raine is shown as ruthless and determined, while Shosanna is resilient and resourceful.

    Character Changes: 7

    Pvt. Butz undergoes a significant change in the scene as he becomes marked with a swastika, solidifying his allegiance with the Basterds. Shosanna's character arc is also established as she seeks refuge and takes steps to protect herself.

    Internal Goal: 7

    The protagonist's internal goal is to find a safe place to hide and survive in the war-torn city. This reflects their deeper need for safety and security amidst the chaos and danger.

    External Goal: 8

    The protagonist's external goal in this scene is to convince Madame Mimieux to teach them how to operate the film projectors and let them work at the cinema as a hiding place.


    Scene Elements

    Conflict Level: 9

    The conflict in the scene is high, with tensions between the Basterds and the Nazis, as well as Shosanna's desperate search for safety. The scene is filled with suspense and impending danger.

    Opposition: 7

    The opposition in the scene is strong, with Madame Mimieux initially reluctant to help and expressing concern about the consequences. This creates uncertainty about whether she will agree to teach Shosanna and allow her to hide in the cinema.

    High Stakes: 9

    The stakes in the scene are high, with characters risking their lives and making crucial decisions that could determine their survival. The threat of violence and capture adds to the sense of urgency and danger.

    Story Forward: 8

    The scene moves the story forward by introducing new characters, establishing their motivations, and setting the stage for future conflicts. The scene also provides important context for the overall plot of the film.

    Unpredictability: 6

    Although there is some level of unpredictability in the scene, such as Madame Mimieux's initial reluctance to help, it is not the primary focus.

    Philosophical Conflict: 6

    There is a philosophical conflict between Shosanna, who is seeking help and safety, and Madame Mimieux, who is fearful of the consequences of helping.


    Audience Engagement

    Emotional Impact: 8

    The scene evokes strong emotions, particularly through Shosanna's story and her determination to survive. The brutality of Lt. Aldo Raine's actions also adds to the emotional impact of the scene.

    Dialogue: 8

    The dialogue in the scene is impactful and effectively conveys the emotions and intentions of the characters. The interaction between Lt. Aldo Raine and Pvt. Butz is particularly intense and memorable.

    Engagement: 7

    This scene is engaging because it introduces the audience to the protagonist's situation and sets up the potential for conflict and suspense in the narrative.

    Pacing: 8

    The pacing and rhythm of the scene contribute to its effectiveness by gradually building tension and showcasing the contrast between the intense opening and the quieter conversation between Shosanna and Madame Mimieux.


    Technical Aspect

    Formatting: 9

    The scene follows the expected formatting for its genre, with clear scene headings, character names, and dialogue formatting.

    Structure: 9

    The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution. The introduction of the protagonist's internal and external goals provides a solid foundation for the rest of the narrative.


    Critique Overall, the scene is well-written and effectively sets up the atmosphere and tone of the story. The dialogue feels natural and the descriptions provide enough detail to paint a clear picture in the reader's mind.

    However, there are a few points that could be improved upon:

    1. The transition between the two scenes could be smoother. Consider adding a clear visual cue or action to help the reader understand the change in location and time.

    2. In the scene with Pvt. Butz and the Basterds, the dialogue feels a bit generic and does not reveal much about the characters or their motivations. You could consider adding more depth to the dialogue to make it more interesting and meaningful.

    3. The interaction between Shosanna and Madame Mimiux could benefit from more subtext and tension. Currently, their conversation feels relatively straightforward and lacks a sense of suspense or hidden agendas. Adding some ambiguity or conflicting motivations to their dialogue could make it more engaging for the audience.

    4. Consider using stronger visual descriptions to enhance the impact of certain moments, such as the hand-carved swastika on Pvt. Butz's forehead. Heightening the sensory details can help bring the scene to life and make it more memorable.

    Overall, the scene is well-written, but there are opportunities to add more depth and tension to the dialogue and enhance the visual descriptions to create a stronger impact on the reader.
    Suggestions Overall, the scene is effective in terms of setting up the location and introducing the character of Shosanna. However, there are a few suggestions to improve the scene:

    1. Clarify the swastika carving scene: The scene where Aldo carves the swastika into Butz's forehead could benefit from more context and emotional impact. Consider adding more description of Butz's reaction or the reactions of the other Basterds to make the moment more intense and horrifying.

    2. Add more visual details: To enhance the cinematic experience, include more visual details in the scene descriptions. Instead of simply stating "We're in the auditorium of a cinema in Paris," describe the architecture, the color scheme, or any unique features of the auditorium to create a vivid image in the reader's mind.

    3. Show Shosanna's emotions: When describing Shosanna watching the movie in the cinema, delve deeper into her emotional state. Show how she is feeling or reacting to the film, as it is important to establish her character and mindset.

    4. Smooth transitions: Transition between scenes more smoothly by adding transitional elements like fade in or fade out effects. This will create a more seamless flow between scenes and improve the pacing of the script.

    5. Add more dialogue subtext: In the conversation between Shosanna and Madame Mimiux, consider adding more subtext to their dialogue. This will make the conversation more layered and intriguing, revealing hidden motivations or conflicts between the characters.

    By implementing these suggestions, the scene will be enhanced in terms of visual storytelling, emotional impact, and character development.



    Scene 12 -  Shosanna at the Cinema
    SHOSANNA
    Oui.

    MADAME MIMIEUX
    What’s your name?

    SHOSANNA
    Shosanna.
    [42]



    MADAME MIMIEUX
    I’m Madame Mimieux. You may call
    me Madame. This is a cinema. Not a
    home for wayward war orphans.
    Having said that, what you say is true.
    If you were truly exceptional, I could
    find use for you. So, Shosanna, are you
    truly exceptional?

    SHOSANNA
    Oui, Madame.

    MADAME MIMIEUX
    I will be the judge of that.

    DISSOLVE TO

    TITLE CARD:

    Which shows a lovely PENCIL SKETCH of the CITY OF PARIS,
    complete with Eiffel Tower.

    ABOVE IT READS:

    “1944
    PARIS”

    THEN . . .

    The CAMERA PULLS BACK, and we see we’re not looking at a TITLE CARD
    at all, but a CALENDER stuck on the wall of the little cinema’s
    projection booth. Before we leave it, WE SEE the
    month is JUNE . . .

    The CAMERA finds the THREE-YEARS-OLDER SHOSANNA working
    as the PROJECTIONIST. It would appear that Shosanna passed
    Madame Mimieux’s exceptional test.

    A lyrical, Morricone-like tune PLAYS on the SOUNDTRACK. This
    will be “Shosanna’s Theme.”

    A little bell begins RINGING on one of the projectors,
    alerting Shosanna its time for a REEL CHANGE.

    Shosanna stands at the projector, watching the old German film
    she’s projecting, waiting for the FIRST REEL CHANGE MARK . . .

    SILVER SCREEN
    of the little cinema. Onscreen LENI RIEFENSTAHL lies
    horizontal as an icicle drips on her head in the old
    German film “The White Hell of Pitz Palu.”
    The FIRST REEL CHANGE MARK POPS ON in the upper-right-
    hand corner of the FRAME (that tells the projectionist
    to get ready).
    [43]



    As the FILM REEL on the FIRST PROJECTOR rolls out, Shosanna stands
    ready, waiting by the SECOND PROJECTOR . . .

    WHEN . . .

    SILVER SCREEN
    the SECOND REEL CHANGE MARK POPS ON in the same place (that’s the
    one).

    SHOSANNA
    THROWS the lever on the SECOND PROJECTOR, switching the film from
    projector 1 to projector 2, executing a perfect REEL CHANGE.

    As “Shosanna’s Theme” plays on the soundtrack, we watch, via
    MONTAGE, her go through her daily chores: carry heavy film cans
    up the stairs, empty the rat traps, etc, etc. . . .

    EXT—CINEMA—NIGHT

    The MARQUEE READS in French:

    “GERMAN NIGHT LENI RIEFENSTAHL in PABST’S WHITE HELL OF PITZ PALU”

    Shosanna emerges from the cinema carrying two buckets of
    LETTERS (for the marquee) and a tall ladder. Her chore here,
    obviously, is to change the show on the marquee.

    The LITERARY NARRATOR comes on the soundtrack in ENGLISH:

    NARRATOR (VO)
    To operate a cinema in Paris during
    the occupation, one had two choices. Either you
    could show new German propaganda films, produced
    under the watchful
    eye of Joseph Goebbels. Or . . . you
    could have a German night in your
    weekly schedule and show allowed
    German classic films.
    Their German night was Thursday.

    Shosanna, by herself, perched up high on the ladder, changing
    the letters on the marquee.

    A YOUNG GERMAN SOLDIER (about the same age as Shosanna) walks
    out of the cinema. He sees the ladder with the young French
    girl on top and walks over.

    They speak FRENCH, SUBTITLED IN ENGLISH:

    GERMAN SOLDIER
    What starts tomorrow?

    Shosanna looks down, seeing the young German soldier smiling up at
    her from below.
    [44]



    SHOSANNA
    A Max Linder festival.

    GERMAN SOLDIER
    Ummm, I always preferred Linder to Chaplin.
    Except Linder never made a
    film as good as “The Kid.” The chase climax of
    “The Kid,” superb.

    Shosanna continues working, not adding to the conversation.

    GERMAN SOLDIER
    I suppose now you could use an M,
    an A, and an X?

    SHOSANNA
    No need, I can manage.

    GERMAN SOLDIER
    Don’t be ridiculous. It’s my pleasure.

    He hands the French damsel the letters spelling MAX.

    SHOSANNA
    Merci.

    GERMAN SOLDIER
    I adore your cinema very much.

    SHOSANNA
    Merci.

    She busies herself with the marquee letters . . .

    GERMAN SOLDIER
    Is it yours?

    SHOSANNA
    Do I own it?

    GERMAN SOLDIER
    Oui.

    SHOSANNA
    Oui.

    GERMAN SOLDIER
    How does a young girl such as yourself own a
    cinema?

    Due to his uniform and Shosanna’s situation, his efforts
    at trying to make small talk strike the young Jewess in
    hiding as a Gestapo interrogation.
    [45]



    SHOSANNA
    My aunt left it to me.

    GERMAN SOLDIER
    Lucky girl.

    Shosanna makes no reply back.

    GERMAN SOLDIER
    Merci for hosting a German night.

    SHOSANNA
    I don’t have a choice, but you’re welcome.

    GERMAN SOLDIER
    Do you choose the German films yourself?

    SHOSANNA
    Oui.

    GERMAN SOLDIER
    Then my merci stands. I love the Riefenstahl
    mountain films, especially “Pitz Palu.” It’s
    nice to see a French girl who’s an admirer of
    Riefenstahl.

    SHOSANNA
    “Admire” would not be the adjective
    I would use to describe my feelings toward
    Fräulein Riefenstahl.
    Genres: ["War","Drama"]

    Summary Shosanna works as a projectionist at a cinema in Paris during the German occupation. She changes the film reels and operates the projector. She encounters a young German soldier who engages her in conversation about films. Shosanna is cautious in her responses.
    Strengths "The scene effectively establishes the tension and potential conflicts in Shosanna's situation. The setting and atmosphere are well-crafted."
    Weaknesses "The dialogue is minimal, and the scene doesn't have major plot developments."

    Ratings
    Overall

    Overall: 8

    The scene effectively establishes Shosanna's role as a projectionist and introduces a potential conflict with the German soldier.


    Story Content

    Concept: 8

    The concept of a cinema operating under German occupation adds tension and sets up potential conflicts.

    Plot: 7

    The plot focuses on Shosanna's daily routine at the cinema and her interaction with the German soldier. It raises questions about potential conflicts.

    Originality: 7

    This scene demonstrates a level of originality through its portrayal of the tense interaction between the French protagonist and the German soldier. The authenticity of the characters' actions and dialogue adds to the originality. The situation of a young Jewish woman hiding her true identity while interacting with a German soldier during the occupation is a fresh approach to a familiar theme.


    Character Development

    Characters: 7

    Shosanna shows caution and restraint in her interactions with the German soldier, which adds depth to her character.

    Character Changes: 6

    Shosanna remains cautious and reserved in her interactions, showing her ability to navigate difficult situations.

    Internal Goal: 8

    The protagonist's internal goal in this scene is to maintain her composure and hide her true feelings while interacting with the German soldier. This reflects her deeper need to survive and her fear of being discovered as a Jewess in hiding.

    External Goal: 7

    The protagonist's external goal in this scene is to change the show on the marquee of the cinema. It reflects the immediate circumstances and challenges she faces as the operator of the cinema during the occupation.


    Scene Elements

    Conflict Level: 6

    There is a potential conflict between Shosanna and the German soldier due to the tense situation of the occupation.

    Opposition: 7

    The opposition in this scene is moderately strong. The protagonist faces the challenge of maintaining her composure and hiding her true identity while interacting with the German soldier. The audience is uncertain of how the interaction will unfold, adding to the opposition.

    High Stakes: 6

    The scene sets up the high stakes of Shosanna's survival and the potential dangers she faces under German occupation.

    Story Forward: 7

    The scene establishes Shosanna's role at the cinema and hints at potential conflicts that could unfold.

    Unpredictability: 6

    This scene has a moderate level of unpredictability. While the audience may anticipate some tension and subtext due to the circumstances, the specific details and outcome of the interaction between the protagonist and the German soldier are less predictable.

    Philosophical Conflict: 9

    There is a philosophical conflict evident in this scene, which is the tense interaction between the French protagonist, who is secretly Jewish and hiding from the Nazis, and the German soldier, who is unaware of her true identity. This conflict challenges the protagonist's beliefs, values, and worldview as she must navigate the situation without revealing her true self.


    Audience Engagement

    Emotional Impact: 6

    The scene creates a sense of tension and unease through its setting and interaction between Shosanna and the German soldier.

    Dialogue: 6

    The dialogue between Shosanna and the German soldier is minimal but conveys tension and cautiousness.

    Engagement: 9

    This scene is engaging because it establishes a sense of tension and intrigue through the subtle interactions between the characters. The audience is curious to see how the protagonist will navigate the situation while hiding her identity.

    Pacing: 9

    The pacing and rhythm of this scene contribute to its effectiveness by gradually building tension and suspense. The scene moves at a steady pace, allowing the audience to absorb the details and subtext without feeling rushed.


    Technical Aspect

    Formatting: 9

    The formatting of this scene follows the expected format for its genre. It includes clear scene headings, dialogue cues, action lines, and effective transitions.

    Structure: 8

    The structure of this scene follows the expected format for its genre. It introduces the characters, establishes the setting, builds tension through dialogue and actions, and concludes with a hint of the protagonist's hidden identity.


    Critique Overall, this scene effectively introduces the character of Shosanna and establishes her role as a projectionist in the cinema during the German occupation of Paris in 1944. The dialogue between Shosanna and Madame Mimieux establishes the power dynamics and sets up the conflict of Shosanna needing to prove herself as "truly exceptional". The transition from the title card to the calendar on the wall is a clever visual device to indicate the passage of time.

    The use of "Shosanna's Theme" as a musical motif adds a nice touch to the scene, helping to establish the character's identity and create a mood. The montage of Shosanna going about her daily chores effectively shows her dedication and work ethic.

    The conversation between Shosanna and the young German soldier adds an interesting dynamic and raises tension. The exchange of dialogue in French with English subtitles is a good choice to convey language differences. However, some of the dialogue between the two characters feels a bit forced and unnatural. The soldier's comments about Max Linder and Chaplin's "The Kid" feel slightly out of place and don't contribute much to the overall scene.

    The revelation that Shosanna is hiding her Jewish identity adds a layer of complexity and raises the stakes for her character. This moment of tension is well-executed, as Shosanna perceives the soldier's small talk as an interrogation. The scene ends with an intriguing line from Shosanna, hinting at her true feelings towards Leni Riefenstahl.

    Overall, while the scene effectively sets up the character and the setting, some of the dialogue could be refined to feel more natural and allow for a smoother flow. Additionally, there could be more exploration of Shosanna's emotions and motivations in this scene to further engage the audience.
    Suggestions - Consider adding more dialogue that reveals the characters' personalities and motivations. For example, you could have Shosanna express her passion for cinema or her determination to keep her cinema running despite the occupation.
    - Show more of the interaction between Shosanna and Madame Mimieux. This will help establish their relationship and make the test feel more significant.
    - Add more visual description to create a vivid and engaging scene. For example, describe the projection booth in detail, the old German film playing on the silver screen, and Shosanna's movements during the reel change.
    - Explore the emotions and thoughts of Shosanna as she interacts with the German soldier. Is she nervous? Suspicious? Add more internal monologue to capture her perspective.
    - Develop the German soldier's character further. What is his role in the occupation? What are his views on the war? This will add depth to his conversation with Shosanna.
    - Consider using more descriptive language and imagery to convey the atmosphere and setting of occupied Paris. This will help immerse the audience in the time period and evoke a stronger emotional response.



    Scene 13 -  Shosanna's Encounter
    GERMAN SOLDIER
    But you do admire the director Pabst, don’t
    you? That’s why you included
    his name on the marquee.

    She climbs down from the ladder and faces the German
    private.

    SHOSANNA
    I’m French. We respect directors
    in our country.

    GERMAN SOLDIER
    Apparently even Germans.

    SHOSANNA
    Even Germans. Merci for your assistance,
    Private. Adieu.

    She turns to go back inside.

    GERMAN SOLDIER
    You’re not finished?
    [46]



    SHOSANNA
    I’ll finish in the morning.

    She opens the door to go inside.

    GERMAN SOLDIER
    May I ask your name?

    SHOSANNA
    You wish to see my papers?

    She hands him her excellently forged papers.

    That’s obviously not what he meant, but he takes them anyway
    to read her name.

    COL. LANDA
    Emmanuelle Mimieux. That’s a very
    pretty name.

    SHOSANNA
    Merci. Are you finished with my papers?

    He hands them back.

    GERMAN SOLDIER
    Mademoiselle. My name is Frederick Zoller.

    She gives no response.

    GERMAN SOLDIER
    It’s been a pleasure chatting with a fellow
    cinema lover. Sweet dreams, Mademoiselle.

    He gives her a little salute and walks into the black of a curfew-
    imposed night.

    She looks after him. She didn’t show it, but he kind of got to her.
    After all, for any true cinema lover, it’s hard to hate anybody
    who, CINEMA MON AMOUR.

    EXT—ROOFTOP CINEMA—NIGHT

    Shosanna stands on the roof her her cinema, late at night, lighting
    up a cigarette. As she takes her first big drag,
    she remembers a voice.

    FLASH ON
    MADAME MIMIEUX, the younger Shosanna, and the black projectionist,
    Marcel, in the projection booth. Shosanna
    lights up a cigarette, and Madame Mimieux SLAPS her face
    HARD, knocking the cigarette out of her mouth. Marcel
    quickly STAMPS it out on the floor.
    [47]



    MADAME MIMIEUX
    If I ever see you light up a cigarette in my
    cinema again, I’ll turn you in to the Nazis, do
    you understand?

    Shosanna is shocked by this statement.

    SHOSANNA
    Oui, Madame.

    MADAME MIMIEUX
    And for bringing an open flame into my cinema,
    you deserve far worse than a Nazi Jewish
    boxcar. With your thick head, what do you think
    the highest priority of a cinema manager is?
    Keeping this fucking place from burning down to
    the ground, that’s what!
    In my collection, I have over three hundred and
    fifty 35mm, nitrate film prints, which are not
    only immensely flammable but highy unstable.
    And should they catch fire, they burn three
    times faster than paper. If that happens . . .
    POOF . . . all gone, cinema no more, everybody
    burned alive. If I ever
    see you with an open flame in my cinema again,
    I won’t turn you into the Nazis. I’ll kill you
    myself. And the fucking Germans will give me a
    curfew pass.
    Do you understand me?

    SHOSANNA
    Oui, Madame.

    MADAME MIMIEUX
    Do you believe me?

    SHOSANNA
    Oui, Madame.

    MADAME MIMIEUX
    You damn well better.

    BACK TO ROOF

    Shosanna exhales cigarette smoke.

    Marcel comes onto the roof.

    MARCEL
    Are you well?
    [48]



    SHOSANNA
    Even on the roof I can’t smoke a cigarette
    without hearing Madame’s
    voice yelling at me. That’s why I
    do it. To hear Madame’s voice again.

    MARCEL
    We both miss her.

    SHOSANNA
    I know. I’m fine, darling. I’ll be
    to bed soon.

    Marcel goes back inside. Shosanna smokes.

    INT—FRENCH BISTRO—AFTERNOON

    Shosanna sits in the back of a French bistro, reading a
    book, “The Saint in New York,” by Leslie Charteris, drinking
    wine when the young German soldier from the other day,
    FREDRICK ZOLLER, walks in. He gets a beer, then notices the French
    girl sitting in the back. He smiles and heads over
    to her. “Oh no, not this guy again,” she thinks.

    Again they speak in FRENCH SUBTITLED IN ENGLISH:

    FREDRICK
    May I join you?

    SHOSANNA
    Look, Fredrick—

    FREDRICK
    (smiling)
    —You remember my name?

    SHOSANNA
    Yes . . . Look, you seem a pleasant
    enough fellow—

    FREDRICK
    —Merci.

    SHOSANNA
    You’re welcome. Regardless, I want you to stop
    pestering me.

    FREDRICK
    I apologize, Mademoiselle. I wasn’t trying to
    be a pest. I was simply
    trying to be friendly.

    SHOSANNA
    I don’t wish to be your friend.
    [49]



    FREDRICK
    Why not?

    SHOSANNA
    Don’t act like an infant. You know why.

    FREDRICK
    I’m more than just a uniform.

    SHOSANNA
    Not to me. If you are so desperate for
    a French girlfriend, I suggest you try Vichy.
    Genres: ["War","Drama","Thriller"]

    Summary Shosanna, a cinema owner, encounters a German soldier who tries to engage her in conversation. She is cautious and dismissive, making it clear that she wants nothing to do with him. Shosanna then reminisces about her past and her relationship with her mentor, Madame Mimieux. Later, she sits in a bistro, reading a book, when the German soldier approaches her again and tries to be friendly, but she remains firm in her refusal to be his friend.
    Strengths "Strong character development, intense dialogue, effective establishment of tension and conflict"
    Weaknesses "Limited action, somewhat predictable interactions"

    Ratings
    Overall

    Overall: 8

    The scene effectively establishes the tension and conflict between Shosanna and the German soldier, creating a sense of unease and anticipation. The dialogue and interactions between the characters are engaging and reveal their distinct personalities. The scene also introduces Shosanna's backstory and her tough relationship with her mentor, adding depth to her character.


    Story Content

    Concept: 7

    The concept of a strong, independent female protagonist who is determined to resist the Nazi regime is compelling and sets up the central conflict of the film. The scene successfully introduces this concept and establishes Shosanna as a complex and compelling character.

    Plot: 7

    The scene contributes to the overall plot by further establishing the conflict between Shosanna and the Germans. It provides insight into Shosanna's motivations and her past experiences, adding depth to her character and setting up her role in the larger plot to seek revenge against the Nazis.

    Originality: 6

    This scene does not introduce any particularly unique situations or fresh approaches to familiar ones. The authenticity of the characters' actions and dialogue, however, adds to the believability of the scene.


    Character Development

    Characters: 8

    The scene effectively develops Shosanna's character by highlighting her resilience, independence, and determination to resist the Nazis. The German soldier serves as the antagonist, creating conflict and tension in their interactions.

    Character Changes: 6

    While Shosanna remains steadfast in her determination to resist the Nazis, the scene reveals her vulnerability and the impact of her past experiences on her emotions.

    Internal Goal: 8

    Shosanna's internal goal in this scene is to maintain her independence and resist the advances of the German soldier. She wants to assert herself as a proud French woman and not give in to the occupation forces.

    External Goal: 6

    Shosanna's external goal in this scene is to finish her work on the cinema marquee and return to it in the morning. Her immediate circumstances and challenges are the curfew and the presence of the German soldier.


    Scene Elements

    Conflict Level: 7

    The conflict between Shosanna and the German soldier is evident in their interactions. There is also a sense of internal conflict within Shosanna as she recalls her past and grapples with her emotions.

    Opposition: 7

    The opposition in this scene is moderately strong. While the German soldier is not a significant obstacle to the protagonist, there is tension and resistance between them that adds to the conflict.

    High Stakes: 6

    The stakes are relatively high in this scene as it establishes the protagonist's resistance against the Nazis and her quest for revenge. However, the immediate outcome of the scene does not involve direct danger or escalation of conflict.

    Story Forward: 7

    The scene provides important information about Shosanna's character and her motivations, contributing to the overall understanding of the story and setting up future developments.

    Unpredictability: 7

    This scene has a moderate level of unpredictability. While the outcome of the interaction between Shosanna and the German soldier may be somewhat predictable, there are moments of tension and surprise in the dialogue and actions.

    Philosophical Conflict: 8

    There is a philosophical conflict evident in this scene between the French and German cultures. Shosanna's values and beliefs clash with those of the German soldier, representing the larger conflict between occupied and occupier.


    Audience Engagement

    Emotional Impact: 7

    The scene elicits a range of emotions, including tension, unease, and sympathy for Shosanna's past experiences. It also establishes a sense of anticipation for the upcoming conflict in the story.

    Dialogue: 7

    The dialogue in the scene is well-written and reveals the distinct personalities of Shosanna and the German soldier. It effectively conveys their conflicting perspectives and highlights Shosanna's assertiveness.

    Engagement: 9

    This scene is engaging because of the tension and power dynamics between the characters. The dialogue and actions create a sense of conflict and anticipation, keeping the audience interested in the outcome.

    Pacing: 8

    The pacing of this scene contributes to its effectiveness by maintaining a steady rhythm and building tension through the concise dialogue and actions. It keeps the scene dynamic and engaging.


    Technical Aspect

    Formatting: 9

    The formatting of this scene follows the expected format for its genre. The dialogue is properly structured with character names and actions, and the scene headings accurately describe the locations.

    Structure: 8

    The structure of this scene follows the expected format for its genre. It establishes the setting, introduces the conflict between the protagonist and the German soldier, and concludes with a moment of tension and resistance.


    Critique Overall, the scene is well-written and effectively conveys the tension and dynamic between Shosanna and the German soldier, Frederick Zoller. The dialogue is sharp and captures the conflicting emotions of both characters.

    One suggestion for improvement would be to add more visual cues and actions to enhance the scene. This can help to create a more engaging and vivid picture for readers and potential viewers. For example, during the exchange between Shosanna and the German soldier, adding gestures, facial expressions, or movements can provide additional layers to the characters' interactions and emotions.

    Additionally, some sections of the dialogue could be trimmed or condensed to maintain a faster pace. This will help to build and sustain the tension between the characters. For example, in the exchange between Shosanna and Frederick Zoller in the French bistro, condensing some of the lines can make the conversation more impactful without sacrificing the essence of the scene.

    Overall, the scene effectively develops the characters and their relationship while maintaining a level of suspense. With a few adjustments to enhance the visuals and streamline the dialogue, this scene can be even more compelling and engaging for the audience.
    Suggestions Here are some suggestions to improve the scene:

    1. Add more specific and descriptive action lines to enhance the visual aspect of the scene. This can help the reader and potential viewers visualize the characters and their surroundings better.

    2. Use dialogue tags to indicate the tone of voice and emotions of the characters. This can help convey the intended emotions and subtext of the scene.

    3. Consider adding more subtext and underlying tension between the characters. Find opportunities to convey their conflicting emotions or hidden motivations through their dialogue and actions.

    4. Show, don't tell. Instead of having characters explicitly state their feelings or motivations, try to convey them through their actions, reactions, and subtle gestures.

    5. Consider streamlining the dialogue to make it more succinct and impactful. Eliminate unnecessary repetition or excessive explanations, and focus on conveying the important information and character dynamics.

    6. Create a stronger connection between the flashback and the present moment. Find ways to tie the themes or emotions from the flashback into the current scene to create a more cohesive and resonant storyline.

    7. Explore ways to build tension and suspense throughout the scene. Use foreshadowing, visual cues, or dramatic pauses to engage the audience and create anticipation for what might happen next.

    8. Consider adding more sensory details to immerse the audience in the scene. Describe the smells, sounds, and visual elements to create a more vivid and immersive experience for the readers or viewers.



    Scene 14 -  Meeting in the Cinema
    Just then TWO OTHER GERMAN SOLDIERS come over, obviously
    very impressed with Fredrick. They make a fuss over him in
    UNSUBTITLED GERMAN, which neither Shosanna or the non-German-
    speaking members of the movie’s audience can understand.
    He signs autographs for them and shakes their hands, and they
    go on their way.

    Shosanna’s eyes narrow.

    SHOSANNA
    Who are you?

    FREDRICK
    I thought I was just a uniform.

    SHOSANNA
    You’re not just a German soldier. Are you
    somebody’s son?

    FREDRICK
    Most German soldiers are somebody’s son.

    SHOSANNA
    Yeah, but you’re not just somebody. What are
    you, Hitler’s nephew?

    He leans in across the table. She leans in too, and he says:

    FREDRICK
    Yes.

    SHOSANNA
    Really?

    FREDRICK
    No, not really. I’m just teasing you.

    She leans back, annoyed.

    SHOSANNA
    Then what is it? What are you, a German movie
    star?
    [50]



    FREDRICK
    Not exactly.

    SHOSANNA
    (Pfuit) What does that mean, “not exactly”? I
    asked if you were a movie star. The answer to
    that question is yes or no.

    Fredrick laughs at that line.

    FREDRICK
    When you said that just now, you reminded me of
    my sister.

    This catches young Shosanna off guard.

    FREDRICK
    I come from a home of six sisters.
    We run a family-operated cinema in Munich.
    Seeing you run around your cinema
    reminds me of them. Especially my sister
    Helga. She raised me, when our father
    wasn’t up to the job. I admire her very
    much. You’d like her. She doesn’t wear a
    German uniform.

    SHOSANNA
    You were raised by Helga?

    FREDRICK
    All my sisters. I’m the baby, but Helga was the
    bossiest.

    SHOSANNA
    And your mother and father?

    FREDRICK
    My mother died. And my father was a
    loser. My father’s motto: “If at first
    you don’t succeed, quit.” The day he
    left, good riddance. My sisters are
    all I need. It’s why I like your cinema.
    It makes me feel both closer to them
    and a little homesick at the same time.

    SHOSANNA
    Is your cinema still operating?

    FREDRICK
    Oui.

    SHOSANNA
    What’s it called?
    [51]



    FREDRICK
    The Kino Haus.

    SHOSANNA
    How has it done during the war?

    FREDRICK
    Actually, in Germany, cinema
    attendance is up.

    SHOSANNA
    No doubt. You don’t have to operate under a
    curfew.

    FREDRICK
    How often do you fill your house?

    SHOSANNA
    (Pfuit) Not since before the war.

    FREDRICK
    So if you had one big engagement, that would
    help you out?

    SHOSANNA
    Of course, but that’s not likely to happen.

    TWO MORE GERMAN SOLDIERS and their TWO FRENCH DATES approach
    the table. They ask for Fredrick’s autograph, and he signs it for
    them. One of the French girls says, in FRENCH, how exciting
    it is to meet a real live German war hero. Shosanna hears
    it. They leave. So that’s it, she thinks.

    SHOSANNA
    So you’re a war hero? Why didn’t you tell me?

    FREDRICK
    Everybody knows that. I liked that you didn’t.

    SHOSANNA
    What did you do?

    He takes a sip of beer.

    FREDRICK
    I’ve shot the most enemy soldiers
    in World War Two . . . so far.

    You bet your sweet ass that got her attention.

    SHOSANNA
    Wow.
    [52]



    FREDRICK
    I was alone in a bell tower in a
    walled-off city in Russia. It was
    myself and a thousand rounds of ammo
    in a bird’s nest, against three
    hundred Soviet soldiers.

    SHOSANNA
    What’s a bird’s nest?

    FREDRICK
    A bird’s nest is what a sniper would call a
    bell tower. It’s a high structure, offering a
    three-hundred-and-sixty-degree view. Very
    advantageous for marksmen.

    SHOSANNA
    How many Russians did you kill?

    FREDRICK
    Sixty-eight.
    (beat)
    The first day. A hundred and fifty the second
    day. Thirty-two the third day.
    On the fourth day, they exited the city.
    Naturally my war story received a lot of
    attention in Germany. That’s why they all
    recognize me. They call me the German Sergeant
    York.

    SHOSANNA
    Maybe they’ll make a film about
    your exploits.

    FREDRICK
    Well, that’s just what Joseph Goebbels thought.
    So he did. It’s called “Nation’s Pride,” and
    guess what, they wanted me to play myself, so I
    did. They have posters for it in kiosks all
    over Paris. That’s another reason for all the
    attention.

    SHOSANNA
    “Nation’s Pride” is about you? “Nation’s Pride”
    is starring you?

    FREDRICK
    I know, comical, huh?

    SHOSANNA
    Not so comical. So what are you doing
    in Paris, enjoying a rest?
    [53]
    Genres: ["Drama","War"]

    Summary Shosanna, a cinema owner, encounters a German soldier who tries to engage her in conversation. She is cautious and dismissive, making it clear that she wants nothing to do with him. The soldier teases her about being Hitler's nephew but eventually reveals he is just a German war hero. Shosanna is intrigued by his stories but remains skeptical.
    Strengths
    • Well-developed characters
    • Engaging dialogue
    • Teasing dynamic
    Weaknesses
    • Lack of significant conflict
    • Limited emotional impact

    Ratings
    Overall

    Overall: 8

    The scene has a strong mix of dialogue and character development, but lacks significant conflict and emotional impact.


    Story Content

    Concept: 7

    The concept of a cinema owner meeting a German war hero is intriguing and provides an opportunity for tension and character exploration.

    Plot: 6

    The plot focuses on the interaction between Shosanna and the German soldier, but lacks significant plot developments or twists.

    Originality: 7

    The level of originality in this scene is moderate. While the setting and time period are familiar, the specific interactions between the characters and the dialogue have fresh and intriguing elements. The authenticity of the characters' actions and dialogue contributes to the originality of the scene.


    Character Development

    Characters: 8

    The characters of Shosanna and Fredrick are well-developed and their interactions are engaging.

    Character Changes: 2

    There is minimal character development or change in this scene.

    Internal Goal: 8

    The protagonist's internal goal in this scene is to understand who Fredrick really is and to determine if she can trust him. This reflects Shosanna's deeper need for safety and security, as well as her desire to protect herself and her cinema.

    External Goal: 7

    The protagonist's external goal in this scene is to gather information about Fredrick and his background. This goal reflects the immediate circumstances of their conversation and the challenge of navigating the language barrier and their roles in the war.


    Scene Elements

    Conflict Level: 4

    The conflict between Shosanna and Fredrick is mostly based on their differing attitudes and skepticism.

    Opposition: 7

    The opposition in this scene is moderate. Shosanna's skepticism and questioning of Fredrick create a small obstacle for him to overcome in gaining her trust. The audience is left uncertain about Fredrick's true intentions.

    High Stakes: 4

    The stakes are relatively low in this scene, as it primarily focuses on character interaction and development.

    Story Forward: 5

    The scene provides some insight into Shosanna's character and introduces the German war hero element, but does not significantly move the story forward.

    Unpredictability: 7

    This scene is somewhat unpredictable because of the unexpected revelation about Fredrick being a war hero. The audience is kept on their toes as they learn more about his background and the role he played in the war.

    Philosophical Conflict: 6

    There is a philosophical conflict evident in this scene between Shosanna's skepticism and Fredrick's attempts to charm her. This conflict challenges Shosanna's beliefs about German soldiers and forces her to question her assumptions.


    Audience Engagement

    Emotional Impact: 5

    The scene lacks significant emotional impact, aside from Shosanna becoming intrigued by Fredrick's war stories.

    Dialogue: 9

    The dialogue between Shosanna and Fredrick is well-written and reflects their cautious and teasing dynamic.

    Engagement: 9

    This scene is engaging because of the back-and-forth dialogue between Shosanna and Fredrick. The tension and mystery surrounding Fredrick's identity and their interaction keeps the audience interested and wanting to know more.

    Pacing: 8

    The pacing of this scene is effective in creating tension and maintaining the audience's interest. The back-and-forth dialogue and the gradual reveal of information contribute to the scene's effectiveness.


    Technical Aspect

    Formatting: 8

    The formatting of this scene follows the expected format for its genre. It uses proper scene headings, character names, and dialogue formatting. The action lines are concise and effectively convey the visuals of the scene.

    Structure: 9

    The structure of this scene follows the expected format for its genre. It begins with a visual description of the world, followed by character interactions and dialogue. The scene progresses with a clear conflict and resolution.


    Critique Overall, this scene effectively reveals the dynamic between Shosanna and Fredrick, as well as providing exposition about Fredrick's background and his role as a German soldier. However, there are a few areas that could be improved upon:

    1. Subtitles: While it is understandable that the unsubtitled German dialogue is meant to highlight the language barrier and Shosanna's lack of understanding, it can be slightly frustrating for non-German-speaking members of the audience. Adding subtitles to the German dialogue would help enhance comprehension and engagement for all viewers.

    2. Dialogue clarity: Some of the dialogue exchanges between Shosanna and Fredrick can feel slightly convoluted or drawn out. Simplifying and tightening the dialogue could make it more impactful and easier to follow.

    3. Emotional impact: While the scene does a good job of showcasing Fredrick's role as a German soldier and war hero, it could benefit from more emotional depth. Adding moments of vulnerability or conflict within Fredrick's character would make him more three-dimensional and relatable to the audience. This could potentially create more empathy and complexity in the relationship between Shosanna and Fredrick.

    4. Visual cues: The scene heavily relies on dialogue to convey information and build tension. Introducing more visual cues, such as facial expressions or body language, would add layers to the scene and make it more visually engaging.

    Overall, the scene effectively provides exposition and develops the characters of Shosanna and Fredrick. However, implementeing some of the suggested improvements would enhance the emotional impact and engagement of the scene.
    Suggestions - Consider adding more visual description in the first part of the scene to create a clearer image of the characters and the setting.
    - Instead of simply stating that Shosanna's eyes narrow, show her disbelief or suspicion through her body language or facial expressions.
    - When Fredrick teases Shosanna about being Hitler's nephew, consider adding a reaction from Shosanna that shows her shock or uncertainty before he reveals the truth.
    - Explore different ways to convey Shosanna's annoyance when Fredrick doesn't answer her question about being a movie star. This could be done through dialogue or body language.
    - Provide more context or background information about Fredrick's sisters and his family-operated cinema. This will help the audience understand his connection to the cinema industry and his admiration for Shosanna's cinema.
    - Instead of having Shosanna ask about Fredrick's parents, consider adding more depth to their conversation by having Fredrick voluntarily share his personal history and his father's motto before Shosanna asks.
    - Explore adding a stronger reaction from Shosanna when she finds out Fredrick is a war hero. This could be shown through her body language, facial expressions, or a longer pause before responding.
    - Consider adding more dialogue or reactions from Shosanna when Fredrick shares his war story. This will help build suspense and tension in the scene.
    - When Fredrick mentions "Nation's Pride," consider adding more detail about the film to make it more impactful. This could include describing the film's plot or the impact it has had on the German soldiers and audiences.
    - Explore adding more dialogue or reaction from Shosanna when she learns that Fredrick stars in "Nation's Pride." This will help highlight the significance of the film and Fredrick's involvement in it.
    - Consider adding a stronger reaction from Shosanna when she realizes the extent of Fredrick's fame and accomplishments. This could include her being in awe or expressing disbelief.
    - Provide more closing dialogue or actions that leave the scene on a strong note, such as a final exchange between Shosanna and Fredrick that reveals their feelings or intentions.



    Scene 15 -  Shosanna's Encounter
    FREDRICK
    Hardly. I’ve been doing publicity, having my
    pictures taken with different German
    luminaries, visiting troops,
    that sort of thing. Goebbels wants the film to
    premiere in Paris, so I’ve been helping them in
    the planning.
    Joseph is very keen on this film.
    He’s telling anybody who will listen that
    when “Nation’s Pride” is released
    I’ll be the German Van Johnson.

    Shosanna isn’t falling for the young German by any stretch.
    However, his exploits, as well as his charming manner, can’t
    help but impress. But his referring to Goebbels as “Joseph,”
    like they’re friends, is all she needs to get on the right side of
    things. This young man is trouble with a capital T, and
    she needs to stay far fucking away from him.

    She abruptly rises and says:

    SHOSANNA
    Well, good luck with your premiere, Private. I
    hope all goes well for
    Joseph and yourself. Au revoir.

    And with that, she disappears, leaving the perplexed private alone.

    EXT—CINEMA MARQUEE—DAY

    It’s the next day.

    Shosanna and Marcel are changing the letters on the marquee.

    Marcel excuses himself to visit the toilet.

    Shosanna is alone outside the little cinema, perched up on her
    ladder.

    WHEN . . .

    . . . A BLACK NAZI SEDAN pulls up in front of the little cinema.

    A GERMAN MAJOR in a black Gestapo uniform steps out of the back of
    the sedan.

    The DRIVER, a German private, steps out as well.

    Yelling to the young girl up high on the ladder:

    Both GERMAN and FRENCH will be SUBTITLED IN ENGLISH.
    [54]



    GESTAPO MAJOR
    Mademoiselle Mimieux?

    SHOSANNA
    Oui?

    Telling his driver in German to ask her in French:

    GESTAPO MAJOR
    Ask her if this is her cinema.

    In French the driver asks Shosanna:

    DRIVER
    Is this your cinema?

    SHOSANNA
    Oui.

    GESTAPO MAJOR
    Tell her to come down.

    DRIVER
    Come down, please.

    She climbs down the ladder.

    The driver opens the back door of the sedan, indicating for her to
    get in.

    SHOSANNA
    I don’t understand. What have I done?

    DRIVER
    (to major)
    She wants to know what she’s done?

    GESTAPO MAJOR
    Who says she’s done anything?

    DRIVER
    Who says you’ve done anything?

    Then in her best imitation of Mademoiselle Mimeux’s arrogant
    manner.

    SHOSANNA
    Then I demand to know what this is about, and
    where do you propose to take me?

    The driver begins to translate when the Gestapo major holds up his
    hand, telling him not to bother. The major looks at the young
    French girl and tells her in German:
    [55]



    GESTAPO MAJOR
    Get your ass in that car.

    No translation necessary. She climbs into the back of the car,
    followed by the Germans. The sedan takes off.

    INT—SEDAN (MOVING)—DAY

    The Nazi sedan drives through the early-afternoon Paris
    streets.

    WE HOLD SHOSANNA IN TIGHT CU
    the whole ride, never showing her Nazi oppressor sitting beside
    her. We just hold on her face trying not to reveal anything.

    The sedan stops.

    The car door opens, and the driver offers Shosanna his hand.

    EXT/INT—MAXIM’S (FAMOUS PARIS CAFÉ)—DAY

    She steps out of the car and is led into a Paris café by the
    Gestapo officer. It takes the young Jewess a moment or two before
    she realizes she’s not being led to a Gestapo interrogation
    room, a railroad car, or a concentration camp, but to lunch.

    The best table at Maxim’s. Three people, and two dogs, sit at it:
    Germany’s minister of propaganda and the number-two man in Hitler’s
    Third Reich, JOSEPH GOEBBELS; his female French translator (and
    mistress), FRANCESCA MONDINO; and young Private Zoller.
    TWO BLACK FRENCH POODLES belonging to Mademoiselle Mondino sit
    together in another chair at the table.

    We join the in mid-conversation:

    They all speak GERMAN, SUBTITLED IN ENGLISH;

    GOEBBELS
    —it’s only the offspring of slaves that
    allows America to be competitive athletically.
    American Olympic gold can be measured
    in Negro sweat.

    Shosanna is led through the French eatery by the Gestapo major.
    Private Zoller sees her and stands up, excuses himself,
    and greets her before she reaches the table.

    Fredrick says in French, SUBTITLED IN ENGLISH;

    FREDRICK
    Good you came. I wasn’t sure whether or not
    you’d accept my invitation.
    [56]



    SHOSANNA
    Invitation?

    THEN . . .

    . . . Goebbels’s voice says OFFSCREEN:

    GOEBBELS (OS)
    Is that the young lady in question, Fredrick?

    Private Zoller turns in his direction, takes Shosanna by the
    arm, and leads her to him.

    FREDRICK
    Yes, it is, Herr Goebbels. Emmanuelle, there is
    somebody I want you to meet.

    Joseph Goebbels, remaining seated, looks up at the young French
    girl, scrutinizing her as he spoons crème brûlée into his mouth.

    The excited Fredrick introduces Shosanna to the propaganda minister
    formally.

    FREDRICK
    Emmanuelle Mimieux, I’d like to introduce you
    to the minister of propaganda, the leader of
    the entire German film industry, and now I’m an
    actor, my boss, Joseph Goebbels.

    Goebbels offers up his long, spiderlike fingers for Shosanna to
    shake. She does.

    GOEBBELS
    Your reputation precedes you, Fräulein Mimieux.

    He looks to Francesca to translate, but she’s just taken a big bite
    of tiramisu.

    They all laugh.
    Genres: ["Drama","War"]

    Summary Shosanna, a cinema owner, encounters a German soldier who tries to engage her in conversation. She is cautious and dismissive, making it clear that she wants nothing to do with him. The soldier teases her about being Hitler's nephew but eventually reveals he is just a German war hero. Shosanna is intrigued by his stories but remains skeptical.
    Strengths "The scene effectively builds tension, creates intrigue, and advances the plot."
    Weaknesses "The dialogue could be more impactful and there could be more character development."

    Ratings
    Overall

    Overall: 8

    This scene effectively builds tension and introduces the main conflict between Shosanna and the German soldier. The reveal of the soldier's true identity adds intrigue, and the meeting with Joseph Goebbels raises the stakes for Shosanna.


    Story Content

    Concept: 7

    The concept of the scene, which revolves around Shosanna's cautiousness and her encounter with the German soldier, is well-executed.

    Plot: 8

    The plot of the scene is engaging, with the introduction of conflicts and the advancement of Shosanna's story as she is taken to meet Joseph Goebbels.

    Originality: 7

    The level of originality in this scene is moderate. Although the setting and context of Nazi-occupied Paris during World War II are familiar, there are unique situations and fresh approaches to familiar elements. The authenticity of characters' actions and dialogue adds to the originality of the scene.


    Character Development

    Characters: 7

    The characters in this scene, particularly Shosanna and the German soldier, are well-developed and their interactions create tension and intrigue.

    Character Changes: 6

    Although there are no significant character changes in this scene, Shosanna's skepticism towards the German soldier is emphasized.

    Internal Goal: 8

    The protagonist's internal goal in this scene is to maintain her composure and not show any fear or suspicion towards the Gestapo officers. This reflects her deeper needs to survive and outsmart the Nazis, as well as her desires to seek revenge and protect her identity.

    External Goal: 9

    The protagonist's external goal in this scene is to understand why she has been taken by the Gestapo officers and what they intend to do with her. This reflects the immediate circumstances and challenges she is facing as someone targeted by the Nazis.


    Scene Elements

    Conflict Level: 8

    The level of conflict in this scene is high, with the tension between Shosanna and the German soldier, as well as the potential danger of being taken to meet Joseph Goebbels.

    Opposition: 9

    The opposition in this scene is strong as the protagonist is confronted with the presence and power of the Gestapo officers. The audience is uncertain about the outcome, adding to the suspense and tension of the scene.

    High Stakes: 9

    The stakes are high in this scene, with Shosanna being taken to meet Joseph Goebbels, a powerful figure in the German film industry.

    Story Forward: 8

    The scene moves the story forward by introducing new conflicts and advancing Shosanna's plot.

    Unpredictability: 7

    This scene is unpredictable because it presents unexpected actions and encounters. The sudden appearance of the Nazi sedan, the protagonist's abduction, and the surprising destination of a Paris cafe instead of an interrogation room or concentration camp add to the unpredictability of the scene.

    Philosophical Conflict: 7

    There is a philosophical conflict evident in this scene as the protagonist, Shosanna, is forced to interact with her oppressors, specifically Joseph Goebbels. This challenges her beliefs, values, and worldview as she is confronted with the power and manipulation of the Nazi propaganda machine.


    Audience Engagement

    Emotional Impact: 7

    The scene evokes a sense of caution and intrigue, as well as the underlying danger faced by Shosanna.

    Dialogue: 6

    The dialogue in this scene effectively conveys the cautiousness and dismissiveness of Shosanna, as well as the soldier's attempts to engage her in conversation.

    Engagement: 9

    This scene is engaging because it introduces a dramatic conflict and raises questions about the protagonist's fate and the intentions of the Gestapo officers. The dialogue and characters' actions create tension and suspense, keeping the audience interested and invested in the scene.

    Pacing: 8

    The pacing of the scene contributes to its effectiveness by creating a sense of tension and suspense. The tight close-up shots and the deliberate and concise dialogue maintain a fast-paced rhythm, keeping the audience engaged and invested in the unfolding events.


    Technical Aspect

    Formatting: 9

    The formatting of this scene follows the expected format for its genre. It includes proper scene headings, clear action lines, and effective use of dialogue and character identification. The formatting enhances the readability and clarity of the scene.

    Structure: 8

    The structure of this scene follows the expected format for its genre. It establishes the initial situation, presents the conflict, and leads to a turning point with the introduction of a new location and characters. The scene builds suspense and sets up future events in the narrative arc.


    Critique Overall, the scene is well-written and effectively conveys the tension and danger of the situation. The dialogue is engaging and helps to develop the characters and their relationships. The descriptions are clear and provide a visual image of the scene. However, there are a few areas where the scene could be improved.

    Firstly, the transition between Shosanna abruptly leaving Fredrick and the next day at the cinema marquee feels a bit abrupt and could be smoother. It might benefit from a small transition or bridge to help the audience understand the passage of time.

    Secondly, the reveal of the Gestapo major and the subsequent dialogue feels a bit forced and heavy-handed. It could be more subtle and mysterious, building suspense and allowing the audience to gradually realize the gravity of the situation. The dialogue could also be more nuanced, with the characters speaking in a more veiled manner to convey the subtext and danger.

    Lastly, the introduction of Goebbels and the subsequent dialogue feels a bit rushed. It could benefit from a slower build-up, allowing the tension and anticipation to build before the reveal of Goebbels. Additionally, the exchange between Shosanna and Goebbels could be more tense and uncomfortable, with Shosanna feeling more trapped and wary in his presence.

    Overall, the scene has potential and effectively conveys the central conflict. By refining the transitions, dialogue, and character interactions, the scene could be even stronger and more impactful.
    Suggestions Here are a few suggestions to improve the scene:

    1. Clarify the relationship between Fredrick and Shosanna: In the current version, it is unclear how they know each other and why Fredrick is inviting her to lunch with Goebbels. You could provide some backstory or dialogue to establish their connection and make it more believable.

    2. Develop Shosanna's emotions and motives: While it's clear that Shosanna is being cautious around Fredrick and wants to stay away from him, it would be helpful to delve deeper into her emotions and why she feels this way. Adding more internal monologue or subtle facial expressions can enhance her character and make her actions more relatable.

    3. Build tension and suspense: The scene currently lacks a sense of suspense or danger. You could heighten the tension by incorporating more physical descriptions, such as Shosanna's racing heartbeat or her hands trembling as she climbs down the ladder. Additionally, adding suspenseful background music or sound effects can further enhance the atmosphere.

    4. Show, don't tell: Instead of explicitly stating that Shosanna needs to stay away from Fredrick because he is trouble, try to show this through her actions and reactions. For example, you can describe how she instinctively takes a step back when he approaches her or how she avoids making direct eye contact with him.

    5. Add more subtext and nuanced dialogue: The dialogue in the scene could benefit from more subtext and complex emotions. Rather than explaining everything explicitly, allow the characters to speak in a way that reveals their true intentions and underlying conflicts. For example, instead of Shosanna asking Fredrick what she has done wrong, she could say something more subtle that hints at her fear and uncertainty.

    These suggestions aim to improve the scene by adding depth to the characters, enhancing the tension, and making the dialogue more engaging.



    Scene 16 -  Shosanna's Encounter
    Frederick jumps in . . .

    FREDRICK
    And normally, this is Herr Goebbels’s French
    interpreter, Mademoiselle Francesca Mondino.

    FRANCESCA
    looks up at Shosanna.
    [57]



    NARRATOR’S VOICE comes on soundtrack:

    NARRATOR (VO)
    Francesca Mondino is much more than Goebbels’s
    French interpreter.
    She’s also Goebbels’s favorite French
    actress to appear in his films . . . . .

    FLASH ON

    FRENCH CLIP
    from one of Francesca’s B/W Goebbels produced productions.

    Francesca, dressed as a French peasant girl, with a YOUNG
    GERMAN (MOVIE) SOLDIER.

    She speaks in FRENCH, SUBTITLED IN ENGLISH:

    FRANCESCA/PEASANT GIRL
    I love you, I can’t help it. My country or my
    heart, which do I betray?

    A SUBTITLE APPEARS below naming the film’s title:

    “SENTIMENTAL COMBAT” (1943)

    FLASH ON
    Francesca and Goebbels having sex in her boudoir, on her red velvet
    bed.

    NARRATOR (VO)
    And Goebbels’s favorite French mistress, to act
    in his bed.

    WE SEE JUST A SUPER-QUICK SHOT OF Goebbels FUCKING Francesca DOGGY-
    STYLE.

    FRANCESCA
    (animal-like)
    Do it! Do it! Fuck me—fill me!

    BACK TO FRANCESCA
    looking at Shosanna.

    FRANCESCA
    Bonjour.

    SHOSANNA
    Bonjour.
    [58]



    FREDRICK
    And you’ve met the major.

    The Gestapo officer steps up and says to Fredrick in German:

    GESTAPO MAJOR
    Actually, I didn’t introduce myself.
    (to Shosanna)
    Major Dieter Hellstrom of the Gestapo, at your
    service, Mademoiselle.
    (he clicks
    his heels)
    Please allow me. Have a seat.

    The Gestapo officer pulls out a chair for the young lady to sit
    down. Shosanna takes the hot seat. Seated to her right is
    Pvt. Zoller. To her left are the two curly, pampered
    poodles. Major Hellstrom pours Shosanna a glass of red wine
    from a small carafe on the table.

    MAJOR HELLSTROM
    Try the wine, Mademoiselle. It’s quite good.

    Goebbels looks across the table at her.

    GOEBBELS
    Well, I must say, you’ve made quite an
    impression on our boy.

    Francesca interprets Goebbels’s German for Shosanna.

    GOEBBELS
    I must say, Fräulein, I should be rather
    annoyed with you.

    Francesca interprets . . .

    GOEBBELS
    I arrive in France, and I wish to have lunch
    with my star . . .

    Francesca interprets . . .

    GOEBBELS
    Little do I know he’s become
    the toast of Paris, and now he
    must find time for me.

    Francesca interprets . . .
    [59]



    GOEBBELS
    People wait in line hours, days,
    to see me. For the Führer and
    Private Zoller, I wait.

    Francesca interprets . . .

    GOEBBELS
    So finally, I’m granted an audience
    with the young private, and he spends the
    entire lunch speaking of you
    and your cinema.

    Francesca interprets . . .

    GOEBBELS
    So Fräulein Mimieux, let’s get down
    to business.

    Private Zoller interrupts—

    FREDRICK
    Herr Goebbels, I haven’t informed
    her yet.

    GOEBBELS
    Unless the girl’s a simpleton, I’m
    sure she’s figured it out by now.
    After all, she does operate a cinema.
    Francesca, tell her.

    Francesca tells Shosanna in French:

    FRANCESCA
    What they’re trying to tell you, Emmanuelle, is
    Private Zoller has
    spent the last hour at lunch,
    trying to convince Monsieur Goebbels
    to abandon previous plans for Private Zoller’s
    film premiere and change the venue to your
    cinema.

    Zoller reacts.

    FRANCESCA
    (FRENCH to Zoller)
    What?

    FREDRICK
    I wanted to inform her.

    FRANCESCA
    Shit. I apologize, Private. Of course you did.
    [60]



    GOEBBELS
    (GERMAN to Francesca)
    What’s the issue?

    FRANCESCA
    The young soldier wanted to inform the
    mademoiselle himself.

    GOEBBELS
    Nonsense. Until I ask a few
    questions, he has nothing to inform.
    Let the record state, I have not
    agreed to a venue change.

    MAJOR HELLSTROM
    Duly noted.

    Goebbels speaks German to Shosanna:

    GOEBBELS
    You have opera boxes?

    SHOSANNA
    Oui.

    GOEBBELS
    How many?

    SHOSANNA
    Three.

    GOEBBELS
    More would be better. How many
    seats in your auditorium?

    SHOSANNA
    Three hundred and fifty.

    GOEBBELS
    That’s almost four hundred less
    than The Ritz.

    Fredrick jumps in . . .
    Genres: ["Drama","War"]

    Summary Shosanna, a cinema owner, encounters a German soldier who tries to engage her in conversation. She is cautious and dismissive, making it clear that she wants nothing to do with him. The soldier teases her about being Hitler's nephew but eventually reveals he is just a German war hero. Shosanna is intrigued by his stories but remains skeptical.
    Strengths "Good balance of dialogue and actions, intriguing revelation of the soldier's true identity, well-captured cautious and dismissive attitude of Shosanna"
    Weaknesses "Limited depth in character motivations and emotions, potential for further exploration of the theme and higher emotional engagement"

    Ratings
    Overall

    Overall: 8

    The scene is well-written with a good balance of dialogue and actions. It successfully captures Shosanna's cautious attitude and the soldier's attempts to be friendly. The revelation of the soldier's true identity adds intrigue to the scene.


    Story Content

    Concept: 7

    The concept of a cinema owner encountering a German soldier during the war is interesting and helps establish the setting and conflict. However, the scene could benefit from more development and deeper exploration of the characters.

    Plot: 8

    The plot progresses as Shosanna's encounter with the soldier unfolds. The teasing and revelation add tension and intrigue to the story. The scene also introduces the conflict between Shosanna's desire to remain distant and the soldier's persistence in trying to be friendly.

    Originality: 7

    There is a level of originality in this scene found in the explicit and graphic nature of the sexual content, as well as the use of language to create discomfort. The authenticity of the characters' actions and dialogue adds depth to the scene.


    Character Development

    Characters: 7

    The characters are distinct and their personalities come through in their dialogue and actions. Shosanna's cautious and dismissive attitude is well-captured, as is the soldier's persistence. However, more depth could be added to their motivations and emotions.

    Character Changes: 5

    There are minor character changes in the scene as Shosanna becomes intrigued by the soldier's stories but remains skeptical. Further development and more significant changes could enhance the scene.

    Internal Goal: 8

    The protagonist's internal goal in this scene is to maintain her composure and hide any signs of fear or vulnerability while engaging with powerful and dangerous individuals.

    External Goal: 9

    The protagonist's external goal in this scene is to navigate a tense conversation with Goebbels and Major Hellstrom, while also managing a potential change in plans for her cinema's film premiere.


    Scene Elements

    Conflict Level: 7

    There is a moderate level of conflict in the scene, primarily stemming from the contrast between Shosanna's reluctance to engage and the soldier's persistent attempts to be friendly. The teasing and revelation also add tension.

    Opposition: 8

    The opposition in this scene is strong, as the protagonist is faced with navigating a conversation with powerful and dangerous individuals whose intentions and actions are unpredictable.

    High Stakes: 6

    The stakes are moderate in the scene as Shosanna's decision to engage or not engage with the soldier can have consequences for her safety and the safety of her cinema. However, the stakes could be heightened with more sense of urgency and immediate threat.

    Story Forward: 7

    The scene moves the story forward by establishing the interaction between Shosanna and the soldier and introducing the conflict and intrigue surrounding the soldier's identity. It sets up further developments and potential conflicts.

    Unpredictability: 8

    This scene is unpredictable because it includes unexpected moments of explicit sexual content and graphic language, which adds a layer of unpredictability to the scene.

    Philosophical Conflict: 7

    There is a philosophical conflict between Shosanna's values and beliefs, which prioritize her own survival and the resistance against the Nazis, and Goebbels and Major Hellstrom's alignment with the Nazi regime and their power dynamics. This conflict challenges Shosanna's ability to navigate dangerous situations and make decisions that align with her moral compass.


    Audience Engagement

    Emotional Impact: 6

    The scene evokes a mild emotional impact, particularly in Shosanna's cautious and skeptical reactions. However, there is potential for deeper emotional engagement and connection with the characters.

    Dialogue: 8

    The dialogue effectively conveys the cautious and dismissive interactions between Shosanna and the soldier. The teasing and revelation provide dynamic exchanges and keep the scene engaging.

    Engagement: 9

    This scene is engaging because it introduces high-stakes tension between the protagonist and powerful individuals, while also including explicit and provocative dialogue that adds intensity and suspense.

    Pacing: 9

    The pacing of the scene contributes to its effectiveness by alternating between moments of tension and slower dialogue, creating a rhythm that keeps the audience engaged and interested.


    Technical Aspect

    Formatting: 9

    The formatting of this scene follows the expected format for its genre. It is properly formatted with character names, dialogue, and scene descriptions.

    Structure: 8

    The structure of this scene follows an expected format for its genre (screenplay). It includes character introductions, dialogue, and scene direction.


    Critique Overall, the scene is engaging and effectively introduces the character of Francesca Mondino and establishes her relationship with Goebbels. However, there are some elements that could be improved upon:

    1. Visual storytelling: The use of flashbacks and cuts to scenes from Francesca's films and her intimate encounters with Goebbels is effective in providing a visual representation of her background and the nature of her relationship with Goebbels. However, the explicit sexual content could be toned down or implied rather than shown directly on screen, as it may be unnecessary and distract from the main narrative.

    2. Dialogue and translation: The dialogue between the characters is mostly clear and serves to advance the plot. However, the use of the narrator's voice on the soundtrack to provide translations and additional information feels clunky and could be incorporated more seamlessly into the dialogue or removed altogether.

    3. Exposition: Some of the dialogue, particularly Goebbels's speech about waiting for Private Zoller, feels heavy-handed and excessive exposition. It could be streamlined and made more subtle to avoid spelling out every detail for the audience.

    4. Characterization: While the scene effectively establishes Francesca's relationship with Goebbels and her role as an interpreter, it would benefit from further development of her character beyond her connection to Goebbels. Adding more depth and complexity to Francesca's motivations and desires would make her a more compelling and well-rounded character.

    Overall, the scene has potential but could be improved through refining the dialogue, pacing, and character development to create a more impactful and engaging story.
    Suggestions Overall, this scene could benefit from some improvements to enhance its effectiveness and impact. Here are a few suggestions:

    1. Clarify character introductions: Make sure to clearly indicate who each character is when they are first introduced. This will help the audience keep track of the various characters and their connections.

    2. Show, don't tell: Instead of relying on the narrator's voiceover to explain Francesca's background as an actress and Goebbels's mistress, consider finding a way to visually convey this information. Show snippets of her acting in Goebbels's films or use visual cues to suggest their relationship.

    3. Tone down explicit content: The explicit sexual content, such as the description of Goebbels and Francesca having sex, could be toned down or removed altogether. It distracts from the main story and may make some viewers uncomfortable.

    4. Streamline dialogue: The dialogue could be made more concise and focused. Eliminate repetitive lines and unnecessary interpretations by Francesca. Consider condensing the information about Zoller trying to convince Goebbels to change the venue for his film premiere into a more concise exchange.

    5. Add more character reactions: Show the reactions of the characters more explicitly to highlight their emotions and add depth to their interactions. Focus on non-verbal cues like facial expressions, body language, and reactions to the dialogue.

    6. Increase tension: Consider adding more tension and conflict into the scene. Find ways to raise the stakes and create a sense of urgency or danger. This could be done through the interactions between the characters or by introducing unexpected elements.

    7. Develop Shosanna's character: Expand on Shosanna's reactions and feelings throughout the scene to give the audience a better understanding of her perspective and motivations. This will help the audience connect with her character and make her more compelling.

    Remember, these are just suggestions to improve the scene. The specific changes will ultimately depend on the overall tone and style of your screenplay.



    Scene 17 -  Encounter at the Cinema
    FREDRICK
    But Herr Goebbels, that’s not such
    a terrible thing. You said yourself
    you didn’t want to indulge every
    two-faced French bourgeois taking
    up space currying favor. With less
    seats it makes the event more
    exclusive. You’re not trying to fill
    the house, they’re fighting for seats.
    [61]



    FREDRICK
    (CON’T)
    Besides, to hell with the French.
    This is a German night, a German
    event, a German celebration. This
    night is for you, me, the German military, the
    High Command, their
    family and friends. The only people
    who should be allowed in the room
    are people who will be moved by
    the exploits onscreen.

    Goebbels listens silently, then after a bit of a pause:

    GOEBBELS
    I see your public speaking has
    improved. It appears I’ve created
    a monster. A strangely persuasive monster. When
    the war’s over,
    politics awaits.

    Table chuckles.

    GOEBBELS
    Well, Private, though it is true
    I’m inclined to indulge you anything,
    I must watch a film in this young
    lady’s cinema before I can say
    yes or no.
    (to Shosanna)
    So, young lady, you are to close
    your cinema tonight and have
    a private screening for me.

    Francesca interprets . . .

    GOEBBELS
    What German films do you have?

    Francesca asks . . .

    SHOSANNA
    My cinema, on German night, tends
    to show older German classics.

    Francesca interprets . . .

    GOEBBELS
    Why not my films?

    Francesca asks . . . ?
    [62]



    SHOSANNA
    I draw an older German audience in
    my cinema that appreciates the
    nostalgia of an earlier time.

    Francesca interprets . . .

    GOEBBELS
    That’s nonsense, Fräulein. We Germans
    are looking forward, not backward.
    That era of German cinema is dead.
    The German cinema I create will not
    only be the cinema of Europe, but
    the world’s only alternative to the degenerate
    Jewish influence of
    Hollywood.

    Fredrick jumps in . . .

    FREDRICK
    Along with being a cinema owner, Emmanuelle is
    quite a formidable
    film critic.

    He chuckles, but alone.

    GOEBBELS
    So it would appear. Unfortunately
    for the Fräulein, I’ve outlawed
    film criticism.

    Zoller, thinking fast, says:

    FREDRICK
    Why don’t you screen “Lucky Kids”?
    I’m sure Emmanuelle hasn’t seen it.
    And it’s so funny. I’ve been meaning
    to recommend it to her, for her
    German night. That’s a great idea.
    Let’s watch “Lucky Kids” tonight.

    GOEBBELS
    Ahhh, “Lucky Kids,” “Lucky Kids,”
    “Lucky Kids.” When all is said and
    done, my most purely enjoyable production. Not
    only that, I
    wouldn’t be surprised if sixty
    years from now, it’s “Lucky Kids”
    that I’m the most remembered for.
    I know it doesn’t seem like it now,
    but mark my words.
    Very well, I’ll have a print sent
    over to the Fräulein’s cinema.
    We’ll screen “Lucky Kids” tonight.
    [63]



    As Francesca interprets this for Shosanna . . .

    the empty chair next to the young Jewish girl is suddenly
    filled with the bottom half of a gray S.S. officer uniform.

    GOEBBELS
    Ah, Landa, you’re here. This is the young lady
    in question.

    The S.S. officer sits down, and it’s our old friend from the
    first scene, COL. HANS LANDA.

    FREDRICK
    Emmanuelle, this is Col. Hans Landa of
    the S.S. He’ll be running security
    for the premiere.

    CU SHOSANNA
    A bomb is dropped and detonated behind her eyes. But if she
    gives any indication of this, her war story ends here.

    The S.S. OFFICER
    who murered her family takes her hand and kisses it,
    saying in perfect French:

    COL. LANDA
    Charmed, Mademoiselle.

    MAJOR HELLSTROM
    Better known as “the Jew Hunter.”

    The table laughs.

    GOEBBELS
    Oh, Francesca, what was that funny
    thing the Führer said about Hans?

    FRANCESCA
    What thing?

    GOEBBELS
    You know, you were there. It was a
    funny thing the Führer said,
    about Hans . . . something about a pig?

    Francesca’s memory is jogged.

    FRANCESCA
    Oh, yes, of course.

    She repeats it by whispering it in Goebbels’s ear.
    [64]



    GOEBBELS
    Oh, yes, of course, that’s it. So
    the Führer said he wouldn’t be
    surprised if Hans weren’t rooting
    out Jews like a truffle pig from
    the playpen.

    FRANCESCA
    That’s what we need, pigs that can
    root out Jews.

    COL. LANDA
    Who needs pigs when you have me?

    Big, hearty laugh around the table.

    GOEBBELS
    Do you have an engagement tonight?

    COL. LANDA
    Well, as a matter of fact, I do—

    GOEBBELS
    —Break it. We’re all going to the fräulein’s
    cinema tonight to view
    “Lucky Kids.”

    COL. LANDA
    Splendid.
    Genres: ["Drama","War"]

    Summary Shosanna, a cinema owner, encounters a German soldier who tries to engage her in conversation. She is cautious and dismissive, making it clear that she wants nothing to do with him. The soldier teases her about being Hitler's nephew but eventually reveals he is just a German war hero. Shosanna is intrigued by his stories but remains skeptical.
    Strengths "Sharp and impactful dialogue, tension between characters, introduction of Col. Hans Landa"
    Weaknesses "Lack of emotional depth, limited character development within the scene"

    Ratings
    Overall

    Overall: 8

    The scene effectively establishes the tension between Shosanna and the German soldier, while also providing insight into their backgrounds and motivations. The dialogue is sharp and impactful, and the presence of Col. Hans Landa adds an additional layer of intrigue. However, the scene could benefit from stronger emotional impact and character development.


    Story Content

    Concept: 7

    The concept of a cinema owner encountering a German soldier carries inherent conflict and potential for dramatic tension. The scene effectively explores themes of war, nationalism, and personal resilience. However, the concept could be further enhanced by deeper exploration of Shosanna's character and her emotional journey.

    Plot: 8

    The plot of the scene revolves around Shosanna's interactions with the German soldier and the introduction of Col. Hans Landa. The conflict is established, and the stakes are raised with the presence of the S.S. officer. The scene sets up future developments and adds layers to the overall story.

    Originality: 8

    This scene demonstrates a level of originality through its depiction of the clash between Nazi ideals and cultural preservation. The use of humor in the dialogue adds a fresh approach to a familiar setting. The authenticity of the characters' actions and dialogue further enhances the originality of the scene.


    Character Development

    Characters: 7

    Shosanna is portrayed as cautious and dismissive, but also intrigued by the soldier's stories. The German soldier is persistent and determined to befriend Shosanna. Col. Hans Landa adds complexity and mystery to the scene. However, the characters could benefit from further development and exploration of their motivations.

    Character Changes: 6

    Shosanna experiences some internal conflict and shifts in her perception of the German soldier, but the character changes are not significant within this scene alone. The introduction of Col. Hans Landa creates potential for further character development in future scenes.

    Internal Goal: 7

    Shosanna's internal goal in this scene is to conceal her true emotions and disguise her hatred for the Nazis. She fears that revealing her true feelings will result in her being discovered and killed.

    External Goal: 8

    Shosanna's external goal in this scene is to convince Goebbels to allow her to screen older German classics in her cinema instead of Goebbels' films. This reflects the immediate challenge of appeasing Goebbels while maintaining her own artistic and cultural preferences.


    Scene Elements

    Conflict Level: 8

    The conflict in the scene is primarily internal, as Shosanna navigates her feelings towards the German soldier. The presence of Col. Hans Landa raises the stakes and adds an external conflict. The tension and resistance between the characters create a high level of conflict.

    Opposition: 7

    The opposition in this scene is moderately strong. While there is tension between Shosanna and Goebbels, there are also moments of compromise and mutual understanding. The scene presents an obstacle for Shosanna to overcome, but the outcome is not fully uncertain.

    High Stakes: 7

    The stakes are raised with the presence of Col. Hans Landa, a known murderer of Shosanna's family. The tension between Shosanna and the German soldier also adds a level of stakes, as she must navigate her feelings and protect her war story.

    Story Forward: 8

    The scene moves the story forward by introducing Col. Hans Landa as a significant character and establishing the tension between him and Shosanna. It sets up future developments and adds layers to the overall story.

    Unpredictability: 6

    This scene contains some level of unpredictability, particularly with the introduction of Col. Hans Landa and the revelation of his relationship with Shosanna. However, much of the dialogue and actions follow a predictable progression.

    Philosophical Conflict: 8

    The philosophical conflict evident in this scene is the clash between Nazi ideals of German superiority and Shosanna's belief in preserving and appreciating older German cinema. This challenges the Nazi worldview and highlights the tension between cultural expression and totalitarian control.


    Audience Engagement

    Emotional Impact: 6

    The scene has some emotional impact, particularly with the revelation of Col. Hans Landa's presence and his interaction with Shosanna. However, the emotional depth could be further explored and developed to create a stronger impact.

    Dialogue: 8

    The dialogue in the scene is sharp and impactful. It effectively conveys the tension between the characters and provides insight into their backgrounds and motivations. The humor and banter add layers to the scene and the characters.

    Engagement: 7

    This scene is engaging because it presents a high-stakes situation with conflicting goals and tensions. The witty dialogue and the presence of familiar characters also contribute to the scene's engagement.

    Pacing: 8

    The pacing of this scene effectively builds tension and keeps the audience engaged. The dialogue and scene directions are paced in a way that allows for moments of humor and reflection amidst the overall intensity.


    Technical Aspect

    Formatting: 9

    The formatting of this scene follows the expected format for its genre. It properly utilizes dialogue, character descriptions, and scene directions, making it easy to understand and visualize.

    Structure: 8

    The structure of this scene follows the expected format for its genre. It effectively establishes the setting, introduces the characters, and presents their goals and conflicts in a logical progression.


    Critique Overall, this scene is well-written and effectively conveys the power dynamics and personalities of the characters involved. The dialogue is engaging and reveals insights into the characters' motivations and beliefs. However, there are a few areas that could be improved upon:

    1. Clarity of character introductions: Instead of assuming the audience will remember Col. Hans Landa from the first scene, it could be helpful to provide a brief description or reminder of his role. This will ensure that the audience is fully aware of the significance of his presence in the scene.

    2. Consistency in tone: The scene begins with a serious tone, as Fredrick and Goebbels discuss the seating arrangements for the event. However, the tone shifts abruptly when Fredrick makes a lighthearted comment about Emmanuelle being a formidable film critic. The humor feels out of place, given the context and the gravity of the topic being discussed. It would be more effective to maintain a consistent tone throughout the scene to enhance the tension and seriousness of the situation.

    3. Visual clarity: Some of the stage directions could be clarified to provide a clearer picture of the characters' actions and reactions. For example, when Fredrick jumps in to recommend the film "Lucky Kids," it is unclear whether he is interrupting Goebbels or speaking after he finishes his sentence. Providing more specific stage directions will help bring the scene to life onscreen.

    Overall, this scene has strong dialogue and effectively conveys the dynamics between the characters. With some minor adjustments for clarity and tone, it can be further enhanced to create a more impactful and engaging scene.
    Suggestions Here are some suggestions to improve the scene:

    1. Clarify the characters' objectives: Make sure the objectives and motivations of each character are clear. This will help drive the conflict within the scene and create tension.

    2. Strengthen the dialogue: While the dialogue in the scene is clear, it could benefit from stronger and more impactful language. Consider using more vivid and specific language that reflects the time period and the characters' backgrounds.

    3. Show character reactions: In certain instances, it could be helpful to include character reactions or physical actions that accompany the dialogue. This will add depth to the scene and bring the characters to life.

    4. Create dynamic moments: Look for opportunities to create more dynamic moments within the scene. This can be achieved through the use of dramatic pauses, shifts in tone or intensity, and unexpected turns in the conversation.

    5. Highlight visual elements: As a screenwriter, it's important to think visually. Consider including more specific visual descriptions or actions that can enhance the scene and provide more context for the reader.

    6. Strengthen the conflict: As the scene progresses, find opportunities to escalate the conflict between characters. This will make the scene more engaging and increase the stakes for the protagonist.

    7. Consider pacing: As scene 17 out of 44, it's important to maintain a steady pace throughout the script. Consider the flow of the overall story and ensure that each scene contributes to the progression of the plot.

    By implementing these suggestions, the scene can be further enhanced and made more engaging for the reader and eventual audience.



    Scene 18 -  Cafe Conversation
    Then the Reich minister’s companion, Mademoiselle Mondino,
    interrupts:

    FRANCESCA
    And now I must get Reich Minister Goebbels to
    his next appointment.

    GOEBBELS
    Slave driver! French slave driver!

    They all chuckle.

    Everybody begins to stand up from the table . . .

    Francesca gathers the stupid dogs . . .

    As Col. Landa stands, he says:

    COL. LANDA
    Actually, in my role as security
    chief of this joyous German occasion, I’m
    afraid I must have a word with Mademoiselle
    Mimieux.
    [65]



    Mademoiselle Mimieux’s eyes go to Private Zoller, who responds.

    FREDRICK
    What sort of discussion?

    COL. LANDA
    That sounded suspiciously like
    a soldier questioning the order of a colonel?
    Or am I just being sensitive?

    FREDRICK
    Nothing could be further from the
    truth, Colonel. Your authority is
    beyond question.
    But your reputation precedes
    you. Should Mademoiselle Mimieux
    or myself be concerned?

    GOEBBELS
    Hans, the boy means no harm, he’s
    simply smitten. And he’s correct.
    Your reputation does precede you.

    Laughter all around. The Reich minister and his Axis entourage make
    their way to front of the café, with the two dumb dogs on
    a leash, leading the way.

    COL. LANDA
    No need for concern, you two.
    As security chief, I simply need
    to have a chat with the possible
    new venue’s property owner.

    FREDRICK
    I was just hoping to escort
    Mademoiselle Mimieux back to her
    cinema.

    GOEBBELS
    Nonsense! You can eat ice cream
    and walk along the Seine another
    time. Right now, allow Col. Landa
    to do his job.

    Everybody says their farewells.

    Col. Landa offers the young Jew in hiding a seat at a small
    table in the outside patio area of Maxim’s.

    The fluency and poetic proficiency of the S.S. Jew hunter’s
    French reveals to the audience that his feigning clumsiness at
    French with Monsieur LaPadite in the film’s first scene was
    simply an interrogation technique.
    [66]



    They speak FRENCH SUBTITLED IN ENGLISH:

    COL. LANDA
    Have you tried the strudel here?

    SHOSANNA
    No.

    COL. LANDA
    It’s not so terrible. So how is it
    the young private and yourself came
    to be acquainted?

    She’s about to answer when a WAITER approaches.

    COL. LANDA
    Yes, two strudels, one for myself
    and one for the mademoiselle. A cup
    of espresso, with a container of
    steamed milk on the side.
    For the Mademoiselle, a glass of milk.

    Considering that Shosanna grew up on a dairy farm, and the last
    time she was on a dairy farm her strudel companion murdered her
    entire family, his ordering her milk is, to say the
    least . . . disconcerting.

    The key to Col. Landa’s power and/or charm, depending on the
    side one’s on, lies in his ability to convince you he’s privy to
    your secrets.

    The waiter exits.

    COL. LANDA
    So, Mademoiselle, you were beginning
    to explain . . . ?

    SHOSANNA
    (anxiously)
    Up until a couple of days ago,
    I had no knowledge of Private Zoller
    or his exploits. To me, the private
    was simply just a patron of my cinema. We spoke
    a few times, but—

    COL. LANDA
    —Mademoiselle, let me interrupt you. This is a
    simple formality, no
    reason for you to feel anxious.

    The strudel arrives.

    The colonel takes one look at it and says to the waiter:
    [67]



    COL. LANDA
    I apologize. I forgot to order the
    crème fraîche.

    WAITER
    One moment.

    He exits.

    COL. LANDA
    (referring to
    the crème.)
    Wait for the crème
    (back to
    business)
    So, Emmanuelle—May I call you Emmanuelle?

    SHOSANNA
    Oui.

    COL. LANDA
    So, Emmanuelle, explain to me how
    does it happen that a young lady
    such as yourself comes to own a
    cinema?

    The waiter returns, applying crème fraîche to the two strudels.

    The S.S. colonel looks across the table at his companion. Picking
    up his fork, he says:

    COL. LANDA
    After you.

    Shosanna takes a whipped-creamy bite of strudel. Landa follows her
    lead.

    COL. LANDA
    (mouthful
    of strudel)
    Success?

    Shosanna, mouth full of strudel, indicates she approves.

    COL. LANDA
    Like I said, not so terrible.
    (back to
    business)
    So you were explaining the origin of your
    cinema ownership?
    [68]



    SHOSANNA
    The cinema originally belonged to
    my aunt and uncle—

    Col. Landa removes a little black book from his pocket.

    COL. LANDA
    —What are their names?

    SHOSANNA
    Jean-Pierre and Ada Mimieux.

    He records the names in his little book.

    COL. LANDA
    Where are they now?

    SHOSANNA
    My uncle was killed during the blitzkrieg.
    Genres: ["Drama","War"]

    Summary Shosanna, a cinema owner, encounters a German soldier who tries to engage her in conversation. She is cautious and dismissive, making it clear that she wants nothing to do with him. The soldier teases her about being Hitler's nephew but eventually reveals he is just a German war hero. Shosanna is intrigued by his stories but remains skeptical.
    Strengths
    • Engaging dialogue
    • Character development
    Weaknesses

      Ratings
      Overall

      Overall: 8

      The scene is well-constructed, with an interesting dialogue between the characters and strong tension.


      Story Content

      Concept: 7

      The concept of a cinema owner interacting with a German soldier during war is intriguing and adds depth to the story.

      Plot: 8

      The plot progresses as the soldier tries to engage Shosanna in conversation and they discuss her cinema ownership and family history.

      Originality: 6

      The level of originality in this scene is moderate. While the setting of Nazi-occupied Paris is a familiar one, the specific interactions between the characters and the power dynamics portrayed are fresh and unique. The authenticity of the characters' actions and dialogue contributes to the overall originality of the scene.


      Character Development

      Characters: 9

      The characters of Shosanna and the soldier are well-developed and their interactions are compelling.

      Character Changes: 6

      There is a slight character change in Shosanna as she becomes more open to the soldier's stories.

      Internal Goal: 7

      The protagonist's internal goal in this scene is to maintain a sense of control and composure in front of the Nazi officials, despite feeling anxious and threatened. This reflects their deeper need to survive and protect themselves and their loved ones.

      External Goal: 8

      The protagonist's external goal in this scene is to accompany Mademoiselle Mimieux to her next appointment and ensure her safety. This reflects the immediate challenge of navigating the dangerous and controlled environment of Nazi-occupied Paris.


      Scene Elements

      Conflict Level: 6

      There is some tension and conflict between Shosanna and the soldier as she is cautious and dismissive of him.

      Opposition: 8

      The opposition in this scene is strong as the protagonist faces potential consequences and challenges from the Nazi officials. The audience is left uncertain about the outcome and how the protagonist will navigate the situation.

      High Stakes: 5

      The stakes for the characters are relatively low in this scene, as it mainly focuses on their conversation.

      Story Forward: 7

      The scene moves the story forward by revealing more about Shosanna's background and motivations.

      Unpredictability: 7

      This scene is unpredictable because it presents a power dynamic between the protagonist and the Nazi officials, where the outcome is uncertain. The audience is kept guessing about the character's true intentions and the potential consequences of their interactions.

      Philosophical Conflict: 9

      The philosophical conflict evident in this scene is the tension between individual freedom and authority. The protagonist is challenged by the oppressive power of the Nazi officials and must navigate their demands while still trying to maintain their own autonomy and sense of self.


      Audience Engagement

      Emotional Impact: 7

      The scene has a moderate emotional impact as Shosanna becomes intrigued by the soldier's stories.

      Dialogue: 8

      The dialogue between Shosanna and the soldier is engaging and reveals important information about their backgrounds.

      Engagement: 8

      This scene is engaging because it introduces tension and conflict through the interactions between the characters. The dialogue and subtle power dynamics capture the audience's attention and create a sense of anticipation.

      Pacing: 9

      The pacing of the scene contributes to its effectiveness by creating tension and allowing for moments of anticipation and reflection. The rhythm of the dialogue and the use of pauses enhance the overall pacing of the scene.


      Technical Aspect

      Formatting: 8

      The formatting of this scene follows the expected format for its genre. The character names are capitalized, dialogue is presented in quotes, and scene directions are clearly labeled and organized.

      Structure: 9

      The structure of this scene follows the expected format for its genre. The dialogue and actions are clearly presented, and the scene progresses smoothly and logically.


      Critique Overall, the scene effectively establishes the tension and power dynamics between the characters. The dialogue is sharp and captures the distinct personalities of each character. However, there are a few areas for improvement:

      1. Formatting: The scene lacks proper scene headings and action lines, making it difficult to follow the physical movements of the characters. It should be clearly indicated when characters stand up, gather dogs, and make their way to the front of the café.

      2. Lengthy Dialogue: Some of the dialogue exchanges are quite lengthy, which can make the scene feel dialogue-heavy. Consider breaking up the dialogue with more action lines or shorter lines of dialogue to maintain pacing and visual interest.

      3. Descriptions and Visuals: There is a lack of visual descriptions in the scene. Adding more details about the setting, character appearances, and actions can bring the scene to life and enhance the reader's visualization of the scene.

      4. French Subtitles: While it is clear that the French dialogue is subtitled in English for the audience, it would be helpful to indicate this in the scene description or character cues to avoid confusion.

      5. Dialogue Clarity: Some of the dialogue exchanges could benefit from clearer intentions and subtext. For example, when Shosanna mentions that her family was killed, it may be more impactful if Col. Landa reacts or responds in a way that reveals his knowledge or reveals more about his character.

      Taking these suggestions into consideration would help improve the readability and visual impact of the scene.
      Suggestions Here are a few suggestions to improve the scene:

      1. Add more action and visual description: Screenplays are a visual medium, so try to enhance the scene with more action and visual description. For example, instead of just saying "Everybody begins to stand up from the table," you could specify how they stand up, where they move to, and their facial expressions.

      2. Clarify character introductions: In the first few lines of dialogue, it is unclear who Mademoiselle Mondino is and why she interrupts. Provide some context or introduce her earlier in the scene.

      3. Create stronger character voices: Each character should have a unique and distinct voice. Work on making the dialogue more specific to each character's personality and background. For example, Goebbels could make a joke that reflects his cruel and sadistic nature.

      4. Increase tension and conflict: The tension between Col. Landa and Mademoiselle Mimieux can be heightened by adding more conflict and suspense. Consider adding more dialogue exchanges where they challenge each other's authority and intentions.

      5. Shorten the dialogue exchanges: Some of the dialogue exchanges could be condensed to make them more concise and impactful. Trim unnecessary lines or repetition to keep the scene moving at a brisk pace.

      6. Use formatting to highlight important visual cues: Instead of relying solely on dialogue to convey information, consider using formatting to highlight visual cues, such as gestures or reactions. This can help enhance the visual storytelling and make the scene more engaging.

      Overall, aim to make the scene more visually dynamic, emphasize character conflicts, and ensure that each line of dialogue serves a purpose in advancing the story or developing the characters.



      Scene 19 -  The Encounter
      COL. LANDA
      Pity . . . Continue.

      SHOSANNA
      Aunt Ada passed away from fever
      last spring.

      COL. LANDA
      Regrettable.
      (respectful
      pause)
      It’s come to my attention you have
      a negro in your employ. Is that true?

      SHOSANNA
      Yes, he’s a Frenchman. His name is Marcel. He
      worked with my aunt and
      uncle since they opened the cinema.
      He’s the only other one who works
      with me.

      COL. LANDA
      Doing what?

      SHOSANNA
      Projectionist.

      COL. LANDA
      Is he any good?

      SHOSANNA
      The best.
      [69]



      COL. LANDA
      Actually, one could see where that
      might be a good trade for them.
      Can you operate the projectors?

      SHOSANNA
      Of course I can.

      COL. LANDA
      Knowing the Reich Minister as I do,
      I’m quite positive he wouldn’t want
      the success or failure of his illustrious
      evening dependent on
      the prowess of a negro. So if it
      comes to pass that we hold this event
      at your venue—talented, no doubt,
      as your negro may be—you will
      operate the projectors. Is that acceptable?

      As if she has any say.

      SHOSANNA
      Oui.

      Col. Landa takes another bite of strudel, and Shosanna follows
      suit.

      COL. LANDA
      So it would appear our young hero is quite
      smitten with you?

      SHOSANNA
      Private Zoller’s feelings for me
      aren’t of a romantic nature.

      COL. LANDA
      Mademoiselle . . . ?

      SHOSANNA
      Colonel, his feelings are not
      romantic. I remind him of his sister.

      COL. LANDA
      That doesn’t mean his feelings
      aren’t romantic.

      SHOSANNA
      I remind him of his sister who
      raised him.
      [70]



      COL. LANDA
      It’s sounding more and more romantic
      by the minute.

      Landa takes out a handsome-looking cigarette case, with an S.S.
      LOGO on it. Removing one of the fags, he lights it up with a fancy
      S.S. gold lighter. He offers one to Shosanna.

      COL. LANDA
      Cigarette?

      SHOSANNA
      No, thank you.

      COL. LANDA
      Do you smoke?

      SHOSANNA
      Yes.

      COL. LANDA
      Then I insist, you must take one. They’re not
      French, they’re German.
      I hope you’re not nationalist about
      your tobacco. To me, French cigarettes are a
      sin against nicotine.

      She takes one but makes no move to light it.

      He inhales deeply and says:

      COL. LANDA
      I did have something else I wanted
      to ask you, but right now, for the
      life of me, I can’t remember what it is. Oh,
      well, must not have been important.

      Col. Landa stands up, throws some French francs on the table, puts
      on his gray S.S. cap, touches his finger to his visor, saluting
      Shosanna, and says:

      COL. LANDA
      Till tonight.

      And with that he’s gone.

      Shosanna breaths a sigh of relief.

      The CAMERA begins to slowly lower from a MEDIUM CU to her feet and
      ankles and the floor. We see her shoes are in a puddle of urine.
      During her conversation and strudel with the man who
      exterminated her entire family, Shosanna pissed herself.
      She drops the German cigarette into the piss puddle by her
      feet.
      [71]



      INT—CINEMA AUDITORIUM—NIGHT
      The SILVER SCREEN
      Onscreen is the German screwball comedy “LUCKY KIDS.”
      We hear OFFSCREEN laughter at the onscreen Aryan antics.
      CU GOEBBELS
      watching the screen, basking in his own toxic genius.
      CU FRANCESCA
      laughing at the comedy, hand covering her mouth.
      CU TWO BLACK POODLES
      pantingly watching the screen.
      CU MAJOR HELLSTROM
      smiling, smoking a German cigarette.
      CU COL LANDA
      smoking a German cigarette, amused.
      CU FREDRICK ZOLLER
      truly enjoying himself.
      CU SHOSANNA
      watching the screen.
      The LITERARY NARRATOR comes on the soundtrack.
      NARRATOR (VO)
      While Shosanna sits there pretending
      to be amused by the Aryan antics of Goebbel’s
      Frank Capra copy “Lucky
      Kids,” a thought suddenly comes to her.

      We see her face get slightly distracted behind the eyes.
      NARRATOR (VO)
      What if tonight, accidently, the
      cinema burned down? The Third Reich would lose
      its minister of
      propaganda, its national hero, and its top Jew
      hunter, all in one fell swoop.
      She chuckles at THAT thought, though it looks like she’s
      chuckling at the German comedy.
      NARRATOR (VO)
      But then that thought . . .
      . . . led Shosanna
      To a crazy idea.
      The idea flashes on her face.
      Then Shosanna bursts out laughing.
      Zoller looks over at her. Happy.
      She’s enjoying the movie.
      [72]



      SILVER SCREEN
      “The END” card for “Lucky Kids” is projected.
      The Nazi rouges’ gallery, and Shosanna, applaud the film.

      The lights go up.

      Goebbels accepts congratulations, as they stand and begin to
      file out into the lobby.

      NARRATOR (VO)
      The screening of “Lucky Kids” was a complete
      success. And Herr Goebbels conceded to have the
      venue changed
      to Shosanna’s cinema. Not only that,
      in a moment of inspiration, Herr Goebbels had
      an idea.
      Genres: ["War","Drama"]

      Summary Shosanna, a cinema owner, encounters a German soldier who tries to engage her in conversation. She is cautious and dismissive, but the soldier teases her and reveals he is a German war hero. Shosanna is intrigued by his stories but remains skeptical. They discuss the projectionist for an upcoming event at her cinema. The soldier hints at Private Zoller's romantic feelings for Shosanna, but she denies them. They have a brief conversation about smoking and the soldier eventually leaves. Shosanna breathes a sigh of relief and realizes a potential opportunity to sabotage the Nazis' event at her cinema.
      Strengths
      • Tension between characters
      • Intrigue and potential sabotage
      • Establishment of high stakes
      Weaknesses
      • Limited emotional depth

      Ratings
      Overall

      Overall: 8

      The scene effectively establishes tension and intrigue, setting up potential conflict and plot development.


      Story Content

      Concept: 7

      The concept of a cinema owner encountering a German soldier and potentially sabotaging a Nazi event is intriguing and sets up interesting possibilities for the story.

      Plot: 8

      The scene moves the plot forward by establishing Shosanna's cautiousness and skepticism, while also introducing the potential for sabotage.

      Originality: 8

      This scene demonstrates a level of originality through the fresh approach to a familiar historical context. The dialogue feels authentic and true to the characters' motivations and the authenticity of their actions. The scene also introduces the concept of a revenge plot within the context of Nazi-occupied France, which adds a unique twist to the narrative.


      Character Development

      Characters: 9

      Shosanna is portrayed as cautious yet intrigued, while the German soldier is charismatic and mysterious. Their interactions create tension and curiosity.

      Character Changes: 6

      Shosanna's skepticism remains, but the encounter with the soldier plants the seeds of rebellion and potential character growth.

      Internal Goal: 8

      The protagonist's internal goal in this scene is to navigate a conversation with Colonel Landa without revealing her true feelings and intentions. She wants to maintain her composure and hide her resentment and hatred towards the Nazis. This reflects her deeper need for survival and her desire for revenge.

      External Goal: 7

      The protagonist's external goal in this scene is to secure her cinema as the venue for a Nazi event. This reflects the immediate circumstances and challenges she is facing, which involve staying in the good graces of the Nazis while secretly plotting her revenge.


      Scene Elements

      Conflict Level: 8

      There is tension and conflict between Shosanna and the soldier, as well as the potential conflict arising from Shosanna's plan to sabotage the Nazi event.

      Opposition: 8

      The opposition in this scene is strong as Shosanna faces the challenge of navigating a conversation with an intimidating Nazi officer while hiding her true intentions. The audience is uncertain of how the conversation will unfold and what consequences it may have for Shosanna.

      High Stakes: 9

      The stakes are high as Shosanna considers sabotaging a Nazi event, risking potential consequences for herself and others.

      Story Forward: 8

      The scene introduces the potential for sabotage, which may have significant implications for the overall story.

      Unpredictability: 7

      This scene has a moderate level of unpredictability as the audience is unsure of how Shosanna will handle the conversation with Colonel Landa and whether she will be able to maintain her composure. The introduction of the idea of the cinema burning down adds an unexpected twist to the narrative.

      Philosophical Conflict: 9

      There is a philosophical conflict evident in this scene between Shosanna's beliefs and values, which include her desire for revenge and resistance against the Nazis, and the Nazis' oppressive regime and worldview. The conflict challenges Shosanna's ability to mask her emotions and navigate her interactions with Colonel Landa.


      Audience Engagement

      Emotional Impact: 7

      The scene creates intrigue and curiosity, while also establishing the danger and stakes for Shosanna.

      Dialogue: 7

      The dialogue effectively establishes the dynamics between Shosanna and the soldier and provides hints at their motivations.

      Engagement: 9

      This scene is engaging because of the tension between the characters and the high stakes involved. The audience is drawn into Shosanna's internal struggle and her attempt to navigate the conversation with Colonel Landa while hiding her true feelings. The scene also sets up a sense of anticipation for the upcoming event at the cinema.

      Pacing: 8

      The pacing of this scene contributes to its effectiveness by gradually building tension through the characters' dialogue and actions. The scene maintains a steady rhythm, allowing the audience to feel the weight of the interactions and the significance of the decisions being made.


      Technical Aspect

      Formatting: 9

      The formatting of this scene follows the expected format for its genre, with clear scene headings, character names, and dialogue formatting. The action lines effectively describe the characters' movements and actions.

      Structure: 9

      The structure of this scene follows the expected format for its genre, with clear character interactions and dialogue sequences. The introduction of conflict and plot development are well-paced and appropriately placed within the scene.


      Critique Overall, this scene does a good job of establishing the tense dynamic between Col. Landa and Shosanna. The dialogue is effective in conveying their power imbalance, with Col. Landa taking on a superior, manipulative tone while Shosanna is somewhat restrained in her responses.

      One point of critique is that some of the dialogue feels a bit on the nose or exposition-heavy. For example, the exchange about the negro employee and the projectionist job could be more subtly conveyed. Additionally, some of the dialogue feels a bit repetitive, with both characters reiterating their points multiple times.

      Another point of critique is the transition to the last part of the scene, with the mention of Shosanna pissing herself. While this is a shocking and unexpected revelation, the way it is presented feels abrupt and somewhat disconnected from the rest of the scene. It may benefit from being set up or foreshadowed more organically earlier on.

      Lastly, there are moments of narration that seem unnecessary, especially when the visuals already convey what is happening. These moments of narration could be trimmed down to allow the audience to infer the character's thoughts or motivations more naturally.

      Overall, this scene effectively builds tension and establishes the power dynamics between the characters, but could benefit from some refinement in dialogue and transitions.
      Suggestions Here are a few suggestions to improve this scene:

      1. Provide more visual and action descriptions: The scene lacks visual details and action descriptions. Add more details to help the reader visualize the characters and their actions. For example, describe the setting, the characters' facial expressions, gestures, and movements.

      2. Vary dialogue tags: Currently, most dialogue tags use the format "Character A said." Try using a variety of dialogue tags to add variation and make the scene more engaging. For example, instead of "COL. LANDA said," you could use "COL. LANDA asked" or "COL. LANDA inquired."

      3. Show internal thoughts and emotions: Add internal thoughts and emotions for the characters, especially Shosanna. This will help the audience connect with the characters on a deeper level and understand their motivations.

      4. Develop tension and conflict: The scene feels relatively calm and straightforward. Introduce more tension and conflict between the characters to make the scene more dynamic. For example, you could show Shosanna's struggle to hide her fear or anger while speaking with Col. Landa, hint at hidden motives, or add a subtextual power play between the characters.

      5. Use stronger and more specific language: Polish the dialogue to make it more engaging and impactful. Choose stronger and more specific language to convey the characters' emotions, intentions, and conflicts.

      6. Consider pacing and structure: Pay attention to the pacing and structure of the scene. Break up the dialogue with action and description to create a more balanced rhythm. Consider adding more beats and pauses to allow the audience to absorb important information and let the tension build.

      Remember that these suggestions should align with your overall vision for the scene and the story you want to tell.



      Scene 20 -  The Plan
      Goebbels speaks GERMAN, and Francesca translates:

      GOEBBELS
      I must say, I appreciate the modesty
      of this auditorium. Your cinema
      has real respect, almost churchlike.
      Not to say we couldn’t spruce the
      place up a bit. In Versailles
      there’s a crystal chandelier hanging
      in the banquet hall that is
      extraordinary. We’re going to get it
      and hang it from the very middle of
      the auditorium roof. Also I want to go to the
      Louvre, pick up a few Greek nudes,
      and just scatter them about the lobby.

      MONTAGE
      We see a quick series of shots that show all that happening.

      The chandelier being removed from the ceiling of Versailles.

      Greek nude statues being hand-trucked out of the Louvre.

      A truck driving through the French countryside with the enormous
      crystal chandelier in the back.

      The lobby of Shosanna’s cinema, pimped out in Nazi iconography.
      WORKERS buzz around decorating. The Greek statues are moved
      into place.

      We see workers trying with incredible difficulty to hoist the huge,
      heavy, and twinkingly fragile chandelier in Shosanna’s auditorium,
      which now resembles something out of one of Tinto Brass’s Italian
      B-movie ripoffs of Visconti’s “The Damned.”

      SHOSANNA
      watches all this from an opera box. She shakes her head in
      disbelief.
      [73]



      BACK TO SHOSANNA AND THE NAZIS
      in the lobby, post screening of “Lucky Kids.” She’s soundlessly
      escorting them to the door as they make their good-byes.

      NARRATOR (VO)
      As they left the little French
      cinema that night, all the Germans
      were very happy . . .

      We see Pvt. Zoller hanging back, so he can say good-bye.

      NARRATOR (VO)
      None more so than Fredrick Zoller.

      She closes the door on him, watching the Nazis walk into
      Paris night. Their shadows for a moment on the wall, look
      like grotesque Nazi caricatures.

      The Nazis are gone.

      Marcel sits at the top of the staircase of the lobby, looking down
      at Shosanna.

      They speak in FRENCH SUBTITLED IN ENGLISH:

      MARCEL
      What the fuck are we supposed to do?

      SHOSANNA
      It looks like we’re supposed to have
      a Nazi premiere.

      MARCEL
      Like I said, what the fuck are we supposed to
      do?

      SHOSANNA
      Well, I need to speak with you
      about that.

      MARCEL
      About what?

      SHOSANNA
      About these Hun swine, commandeering
      our cinema.

      MARCEL
      What about it?

      She slowly walks up the stairs to Marcel. She makes him part
      his legs and sits on the lower step, between his legs, her
      back up against his chest, his arms around her shoulders, Shosanna
      has only known this type of intimacy with Marcel.
      [74]



      SHOSANNA
      Well, when I was watching that Boche
      (said in
      English)
      Capra-corn abomination,
      (back to
      French)
      I got an idea.

      MARCEL
      I’m confused. What are we talking
      about?

      SHOSANNA
      Filling the cinema with Nazis and
      their whores, and burning it down
      to the ground.

      MARCEL
      I’m not talking about that. You’re talking
      about that.

      SHOSANNA
      No, we’re talking about that,
      right now. If we can keep this
      place from burning down by
      ourselves, we can burn it down
      by ourselves.

      MARCEL
      Shosanna—

      SHOSANNA
      No, Marcel, just for the sake of argument, if we
      wanted to burn down the cinema
      for any number of reasons, you and I could
      physically accomplish that, no?

      MARCEL
      Oui, Shosanna, we could do that.

      SHOSANNA
      And with Madame Mimieux’s three hundred and fifty
      nitrate film print collection,
      we wouldn’t even need explosives, would we?

      MARCEL
      You mean we wouldn’t need any more explosives?

      SHOSANNA
      Oui, that’s exactly what I mean.

      She begins kissing his hands.
      [75]



      SHOSANNA
      (CON’T)
      I am going to burn down the cinema
      on Nazi night.

      One of his fingers probes her mouth.

      SHOSANNA
      (CON’T)
      And if I’m going to burn down the cinema, which
      I am, we both know
      you’re not going to let me do it
      by myself.

      The back of her head presses up hard against him, as his hand both
      caresses and grips her lovely neck.

      SHOSANNA
      (CON’T)
      Because you love me. And I love you.
      And you’re the only person on this earth I can
      trust.

      She then TWISTS around so she’s straddling him. They are now
      face to face.

      SHOSANNA
      (CON’T)
      But that’s not all we’re going to do. Does the
      filmmaking equipment in the attic still work? I
      know the film
      camera does. How about the sound recorder?

      MARCEL
      Quite well, actually. I recorded a
      new guitarist I met in a café last
      week. It works superb. Why do we
      need filmmaking equipment?

      SHOSANNA
      Because Marcel, my sweet, we’re
      going to make a film. Just for the
      Nazis.

      She gives him a deep French kiss.
      Genres: ["War","Drama","Thriller"]

      Summary Shosanna encounters a German soldier who tries to engage her in conversation. She is dismissive at first, but the soldier teases her and reveals he is a war hero. They discuss the projectionist for an upcoming event at her cinema. Shosanna realizes a potential opportunity to sabotage the Nazis' event.
      Strengths "Strong character development, engaging dialogue, and the introduction of a major plot development."
      Weaknesses "Some repetitive dialogue and lack of action."

      Ratings
      Overall

      Overall: 8

      The scene is well-written and sets up a major plot development.


      Story Content

      Concept: 7

      The concept of Shosanna sabotaging the Nazis' event is compelling and adds tension to the story.

      Plot: 8

      The plot progresses as Shosanna discovers the potential opportunity to sabotage the event.

      Originality: 9

      This scene demonstrates a level of originality through the unique situation of the characters planning to burn down the cinema during a Nazi premiere. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


      Character Development

      Characters: 9

      Shosanna and Marcel are well-developed and their personalities shine in this scene.

      Character Changes: 6

      Shosanna starts to consider a plan to sabotage the event, showing a change in her mindset.

      Internal Goal: 8

      Shosanna's internal goal in this scene is to plot revenge against the Nazis by burning down the cinema during the Nazi premiere.

      External Goal: 7

      Shosanna's external goal in this scene is to discuss her plan with Marcel to burn down the cinema and create a film to target the Nazis.


      Scene Elements

      Conflict Level: 7

      There is tension between Shosanna and the soldier, as well as a conflict in Shosanna's decision to sabotage the event.

      Opposition: 8

      The opposition in this scene is strong, as Shosanna and Marcel grapple with the moral implications and logistical challenges of their plan to burn down the cinema. The audience is unsure of how they will overcome these obstacles.

      High Stakes: 8

      The stakes are high as Shosanna plans to take action against the Nazis.

      Story Forward: 9

      The scene moves the plot forward by introducing the plan to sabotage the event.

      Unpredictability: 7

      This scene has a moderate level of unpredictability. While the idea of burning down the cinema is unexpected, the overall direction of the scene is somewhat foreseeable.

      Philosophical Conflict: 6

      The philosophical conflict evident in this scene is the clash between Shosanna's desire for revenge and the moral implications of her actions. It challenges her beliefs and values as she contemplates the idea of resorting to violence.


      Audience Engagement

      Emotional Impact: 8

      The scene elicits emotions of intrigue, skepticism, and relief.

      Dialogue: 8

      The dialogue is engaging and reveals important information about the characters and their motivations.

      Engagement: 9

      This scene is engaging because it reveals the characters' motivations and sets up a suspenseful conflict. The dialogue and actions of the characters keep the reader invested in the scene.

      Pacing: 9

      The pacing of this scene is effective in building tension and maintaining the reader's interest. The quick series of shots in the montage adds a dynamic element to the scene.


      Technical Aspect

      Formatting: 9

      The formatting of this scene follows the expected format for its genre with clear scene headings, dialogue, and action lines. It is easy to read and understand.

      Structure: 8

      The structure of this scene follows the expected format for its genre, with clear dialogue and narrative description. It effectively progresses the plot and develops the tension between the characters.


      Critique As a screenwriting expert, here are some critiques of the scene:

      1. Dialogue: The dialogue is effective in conveying Goebbels' arrogance and Shosanna's determination. However, some lines could be trimmed or simplified to make them more believable and engaging.

      2. Montage: The montage sequence is well-written and provides visual storytelling. It effectively shows the actions taking place without excessive description.

      3. Action and Description: The action and description of the scene are clear and concise, allowing the reader to visualize the events and settings.

      4. Subtitles: The use of subtitles to translate the French dialogue is appropriate and ensures the audience can understand the conversation happening between Marcel and Shosanna.

      5. Characterization: The scene effectively depicts the relationship dynamics between Shosanna and Marcel, conveying their love and trust for each other. However, the romantic and intimate moments between them could be further developed to enhance emotional connection and depth.

      6. Storytelling and pacing: The scene effectively sets up the conflict and reveals Shosanna's plan to burn down the cinema. The pacing flows well, with a good balance between dialogue, action, and introspective moments.

      Overall, the scene is well-constructed and contributes to the overall narrative. Some minor tweaks and fine-tuning could further enhance its impact and engagement.
      Suggestions Here are some suggestions to improve the scene:

      1. Clarify the actions and reactions: Make sure the actions and reactions of the characters are clear and concise. This will help the reader easily visualize the scene and understand the characters' emotions.

      2. Use visual language: Describe the visuals in a more vivid and engaging way. This will help bring the visuals to life and make the scene more exciting for the reader.

      3. Streamline the dialogue: Streamline the dialogue between Shosanna and Marcel. Focus on keeping the conversation concise and to the point, while still conveying their emotions and intentions.

      4. Give more context: Provide more context for the conversation between Shosanna and Marcel. This will help the reader understand the significance of their plans and their motivations.

      5. Show reactions: Show Shosanna's and Marcel's reactions as they discuss their plans. This will add depth to their characters and make the scene more engaging for the reader.

      6. Develop the emotional connection: Develop the emotional connection between Shosanna and Marcel. Show their love and trust for each other through their actions and dialogue.

      7. Add tension: Increase the tension in the scene by highlighting the risks and challenges they face in executing their plans. This will create a sense of suspense and keep the reader hooked.

      Overall, focus on making the scene more engaging, visually appealing, and emotionally impactful.



      Scene 21 -  Meeting at the Estate
      FADE TO BLACK

      BLACK FRAME
      [76]



      CHAPTER TITLE APPEARS:


      CHAPTER FOUR

      “OPERATION KINO”

      FADE OFF

      INT—ENGLISH COUNTRY ESTATE—DAY

      A young MILITARY ATTACHÉ opens the sliding double doors
      that serve as an entrance to the room.

      MILITARY ATTACHÉ
      Right this way, Lieutenant.

      A snappy, handsome British lieutenant in dress brown steps inside
      the room. This officer, who has been mixing it up with
      the Gerrys since the late thirties, is LT. ARCHIE HICOX,
      a young George Sanders type (“The Saint” and “Private Affairs of
      Bel Ami” years).

      Upon entering the room, Lt. Hicox is gobsmacked.

      Standing before him is legendary military mastermind
      GEN. ED FENECH, an older George Sanders type (“Village of the
      Damned”).

      But in the back of the room, sitting behind a piano,
      smoking his ever-present cigar, is the unmistakable
      bulk of WINSTON CHURCHILL.

      The lieutenant was not expecting him.

      Hicox salutes the general.

      LT. HICOX
      Lieutenant Hicox reporting, sir.

      GEN. FENECH
      (salutes back)
      General Ed. Fenech. At ease, Hicox. Drink?

      Hicox’s eyes go to the formidable bulldog behind the piano,
      who’s scrutinizing him behind his cigar. However, the man behind
      the cigar makes no gesture, and the general makes no acknowledgment
      of the three-hundred-pound gorilla in the room. Which Lt. Hicox
      knows enough to mean, if Churchill isn’t introduced, he ain’t
      there.

      LT. HICOX
      If you offered me a scotch and plain water, I
      could drink a scotch and
      plain water.
      [77]



      GEN. FENECH
      That a boy, Lieutenant. Make it yourself, like
      a good chap,
      will you? Bar’s in the globe.

      Hicox heads over to the bar globe.

      LT. HICOX
      Something for yourself, sir?

      GEN. FENECH
      Whiskey straight. No junk in it.

      The lieutenant moves over to the Columbus-style globe bar and
      busies himself mixing spirits, playing bartender chappy.

      Fenech, eyeing the lieutenant’s file.

      GEN. FENECH
      It says here you’ve run three
      undercover commando operations in Germany and
      German-occupied
      territories? Frankfurt, Holland,
      and Norway, to be exact?

      Back to them, mixing drinks, he says:

      LT. HICOX
      Extraordinary people, the Norwegians.

      GEN. FENECH
      It says here you speak German fluently?

      LT. HICOX
      Like a Katzenjammer Kid.

      GEN. FENECH
      And your occupation before the war?

      His back still to us, as he bartends . . .

      LT. HICOX
      I’m a film critic.

      GEN. FENECH
      List your accomplishments?

      LT. HICOX
      Well, sir, such as they are, I write reviews
      and articles for a publication called “Films
      and Filmmakers.”
      As well as our sister publication.
      [78]



      GEN. FENECH
      What’s that called?

      LT. HICOX
      “Flickers Bi-Monthly,” and I’ve had
      two books published.

      GEN. FENECH
      Impressive. Don’t be modest, Lieutenant. What
      are their titles?

      LT. HICOX
      The first book was called “Art of the Eyes, the
      Heart, and the Mind: A Study of German Cinema
      in the Twenties.”
      And the second one was called . . .

      He turns around with his whiskey and plain water and the general’s
      whiskey no junk. He finishes what he was saying, as
      he walks toward the general, handing him his drink.

      LT. HICOX
      “Twenty-Four Frame Da Vinci.”
      It’s a subtextual film criticism
      study of the work of German director
      G. W. Pabst.

      He hands the general his whiskey.

      LT. HICOX
      What should we drink to, sir?

      GEN. FENECH
      (thinking, for
      a moment)
      Down with Hitler.

      LT. HICOX
      All the way down, sir.

      CLINK.

      GEN. FENECH
      Are you familiar with German cinema under the
      Third Reich?

      LT. HICOX
      Yes. Obviously I haven’t seen any of
      the films made in the last three
      years, but I am familiar with it.

      GEN. FENECH
      Explain it to me.
      [79]



      LT. HICOX
      Pardon, sir?

      GEN. FENECH
      This little escapade of ours
      requires a knowledge of the German
      film industry under the Third Reich. Explain to
      me UFA, under Goebbels?

      LT. HICOX
      Goebbels considers the films he’s
      making to be the beginning of a new
      era in German cinema—an alternative
      to what he considers the Jewish
      German intellectual cinema of the twenties and
      the Jewish-controlled
      dogma of Hollywood.

      SUDDENLY . . . bellowing from the back of the room:

      CHURCHILL
      How’s he doing?

      LT. HICOX
      Frightfully sorry, sir, once again?

      CHURCHILL
      You say he wants to take on the Jews
      at their own game? Compared to, say,
      . . . Louis B. Mayer . . . how’s he doing?
      Genres: ["War","Drama"]

      Summary Shosanna, a cinema owner, encounters a German soldier who tries to engage her in conversation. She is cautious and dismissive at first, but the soldier teases her and eventually reveals he is a German war hero. Shosanna is intrigued by his stories but remains skeptical. They discuss the projectionist for an upcoming event at her cinema. The soldier hints at Private Zoller's romantic feelings for Shosanna, but she denies them. They have a brief conversation about smoking and the soldier eventually leaves. Shosanna breathes a sigh of relief and realizes a potential opportunity to sabotage the Nazis' event at her cinema.
      Strengths "Strong character dynamics and potential for conflict"
      Weaknesses "Limited emotional impact and slower pacing"

      Ratings
      Overall

      Overall: 8

      The scene effectively establishes the tensions and intrigue between Shosanna and the German soldier, setting up potential conflict and plot developments.


      Story Content

      Concept: 7

      The concept of a cinema owner encountering a German soldier and potentially sabotaging a Nazi event adds tension and suspense to the plot.

      Plot: 8

      The scene advances the plot by introducing the potential for sabotage and setting up future conflicts.

      Originality: 4

      The level of originality in this scene is relatively low. There are no unique situations or fresh approaches to familiar ones. The authenticity of the characters' actions and dialogue is believable and consistent with the time period.


      Character Development

      Characters: 8

      The characters of Shosanna and the German soldier are well-defined and their interactions reveal their motives and potential development.

      Character Changes: 5

      There is not significant character development in this scene.

      Internal Goal: 8

      The protagonist's internal goal in this scene is to make a good impression on General Fenech and gain his approval. This reflects the protagonist's desire for recognition and validation of his skills and accomplishments.

      External Goal: 7

      The protagonist's external goal in this scene is to gather information and gain a better understanding of the German film industry under the Third Reich. This reflects the immediate circumstances and challenges they are facing in planning their operation.


      Scene Elements

      Conflict Level: 6

      The tension between Shosanna and the German soldier creates a moderate level of conflict in the scene.

      Opposition: 7

      The opposition in this scene is not overly strong, as the main challenge for the protagonist is to impress the general and gather information.

      High Stakes: 6

      The potential for sabotaging a Nazi event raises the stakes in the scene.

      Story Forward: 7

      The scene introduces potential plot developments and advances the overall story.

      Unpredictability: 6

      This scene has some unpredictability as the audience is unsure how the interaction between the protagonist and the general will proceed.

      Philosophical Conflict: 0

      There is no evident philosophical conflict in this scene.


      Audience Engagement

      Emotional Impact: 5

      The scene does not have a high emotional impact but sets up potential emotional stakes for the characters.

      Dialogue: 7

      The dialogue effectively conveys the cautious and dismissive tone between Shosanna and the soldier, adding to the tension of the scene.

      Engagement: 7

      This scene is engaging because it introduces a major historical figure, Winston Churchill, and provides tension with the protagonist trying to impress the general.

      Pacing: 8

      The pacing of the scene is effective as it moves at a steady pace, allowing for tension and dialogue to unfold naturally.


      Technical Aspect

      Formatting: 8

      The formatting of this scene follows the expected format for its genre. It includes clear scene headings, character names, and dialogue format.

      Structure: 9

      The structure of this scene follows the expected format for its genre. It begins with an establishing shot and introduces the characters and their immediate goal.


      Critique The scene sets up the location effectively with the description of the English country estate and the sliding double doors. The introduction of the characters is also clear, with their names and physical descriptions provided. However, there are a few areas that could be improved.

      Firstly, the dialogue feels somewhat stilted and forced, particularly in the exchanges between Lt. Hicox and Gen. Fenech. The dialogue lacks natural flow and could benefit from more nuance and subtlety. Additionally, the exposition-heavy dialogue, particularly in the discussion of Lt. Hicox's background, feels forced and could be better integrated into the scene.

      Furthermore, the inclusion of Winston Churchill in the scene feels unnecessary and distracting. While Churchill is a well-known historical figure, his presence in this specific scene seems to serve no purpose other than a surprise twist for Lt. Hicox. This element could be reevaluated and either given a stronger purpose or removed altogether.

      Overall, the scene has potential but could benefit from improvements in dialogue and character development.
      Suggestions Here are some suggestions to improve the scene:

      1. Clarify the characters: Clearly identify the characters when they are introduced. Make sure it is clear who the Military Attaché, Lt. Archie Hicox, Gen. Ed Fenech, and Winston Churchill are.

      2. Setting description: As this is an important scene, provide more details about the English country estate to give the scene a sense of place and atmosphere.

      3. Improve dialogue: Some of the dialogue can be refined and made more engaging. Consider adding conflict, subtext, and tension to the conversation between Lt. Hicox and Gen. Fenech to make it more interesting for the audience.

      4. Character motivations: Explore the motivations of Lt. Hicox and Gen. Fenech in this scene. What are their personal stakes and what do they want from each other? Adding depth to their goals and intentions can make the scene more engaging.

      5. Introduce Churchill: Introduce Winston Churchill in a more explicit and engaging way. Make it clear why his presence is significant and impactful in the scene.

      6. Actions and reactions: Use more physical actions and reactions in the scene to enhance the visual storytelling. Show Lt. Hicox's surprise when he sees Churchill and Gen. Fenech's reaction to Churchill's presence.

      7. Show, don't tell: Instead of having Lt. Hicox describe his previous operations and knowledge, find opportunities to show his skills and expertise through actions or dialogue.

      8. Add conflict or tension: Consider adding some sort of conflict or tension to the scene to make it more dynamic. This could come from opposing objectives, conflicting personalities, or hidden agendas.

      9. Cut unnecessary details: Streamline the dialogue and remove any unnecessary details that don't contribute to the scene or character development.

      10. Consider pacing: Evaluate the pacing of the scene. Break it down into beats and ensure a good balance between action, dialogue, and narrative description.



      Scene 22 -  Operation Kino Briefing
      LT. HICOX
      Quite well, actually. Since Goebbels
      has taken over, film attendance has steadily
      risen in Germany over the
      last eight years. But Louis B. Mayer wouldn’t
      be Goebbels’ proper opposite number. I believe
      Goebbels sees himself closer to David O.
      Selznick.

      Gen. Fenech looks to the prime minister.

      With a puff of cigar smoke, Churchill says:

      CHURCHILL
      Brief him.

      GEN. FENECH
      Lt. Hicox, at this point in time I’d like to
      brief you on Operation Kino. Three days from
      now, Joseph Goebbels is throwing a gala
      premiere of one of his new movies in Paris—
      [80]



      LT. HICOX
      —What film, sir?

      The general has to resort to peeking at his file.

      GEN. FENECH
      The motion pictures called “Nation’s Pride.”

      LT. HICOX
      Oh, you mean the film about Private Zoller?

      GEN. FENECH
      We don’t have any intelligence on exactly what
      the film that night
      will be about.

      LT. HICOX
      But it’s called “Nation’s Pride”?

      GEN. FENECH
      Yes.

      LT. HICOX
      I can tell you what it’s about.
      It’s about Private Fredrick Zoller.
      He’s the German Sargeant York.

      Fenech can’t help suppress a smile. They have the right man.

      GEN. FENECH
      In attendance at this joyous Germanic occasion
      will be Goebbels, Goering, Boormann, and most
      of the German High Command, including all the
      high-ranking officers of both the S.S. and the
      Gestapo, as well as luminaries of the Nazi
      propaganda-film industry.

      LT. HICOX
      The master race at play, aye?

      GEN. FENECH
      Basically, we have all our rotten
      eggs in one basket. The objective of Operation
      Kino . . . Blow up the basket.

      LT. HICOX
      (reciting a
      poem)
      . . . and like the snows of yesteryear, gone
      from this earth. Jolly good, sir.
      [81]



      GEN. FENECH
      An American Secret Service outfit
      that lives deep behind enemy lines
      will be your assist. The Germans call them “the
      Basterds.”

      LT. HICOX
      “The Basterds.” Never heard of them.

      GEN. FENECH
      Whole point of the Secret Service,
      old boy, you not hearing of them.
      But the Gerrys have heard of them, because
      these Yanks have been them
      the devil. Their leader is a chap
      named Lieutenant Aldo Raine. The
      Germans call him “Aldo the Apache.”

      LT. HICOX
      Why do they call him that?

      GEN. FENECH
      Best guess is because he removes the scalps of
      the Nazi dead.

      LT. HICOX
      Scalps, sir?

      GEN. FENECH
      The hair.

      He runs his finger along his hairline.

      GEN. FENECH
      Like a red Injun.

      LT. HICOX
      Rather gruesome-sounding little dickybird,
      isn’t he?

      GEN. FENECH
      No doubt the whole lot, a bunch of nutters. But
      you’ve heard the
      expression “It takes a thief.”

      LT. HICOX
      Indeed.

      Gen. Fenech continues on with his exposition, moving over
      to a military map.
      [82]



      GEN. FENECH
      You’ll be dropped into Franch about twenty-four
      kilometers outside of Paris. The Basterds will
      be waiting for you. First thing, you go to a
      little village called Nadine.
      (He points it out
      on the map.)
      Apparently the Gerrys never go there.
      In Nadine, there’s a tavern called
      La Louisiane. You’ll rendezvous
      with our double agent, and she’ll take it from
      there. She’s the one who’s
      going to get you into the premiere.
      It will be you, her, and two German-
      born members of the Basterds. She’s
      also made all the other arrangements you’re
      going to need.

      LT. HICOX
      How will I know her?

      GEN. FENECH
      I suspect that won’t be too much
      trouble for you. Your contract is Bridget von
      Hammersmark.

      LT. HICOX
      Bridget von Hammersmark? The German movie star
      is working for England?

      GEN. FENECH
      For the last two years now. One could even say
      Operation Kino was her brainchild.

      In the back of the room the bulldog barks:

      CHURCHILL
      Extraordinary woman.

      LT. HICOX
      Quite.

      GEN. FENECH
      You’ll go to the premiere as her
      escort, lucky devil. She’ll also
      have the premiere tickets for the
      other two. Got the gist?

      LT. HICOX
      I think so, sir. Paris when it sizzles.

      The three British bulldogs laugh.
      [83]



      EXT—CINEMA ROOFTOP—DAY

      Shosanna and Marcel are on the rooftop of their cinema
      literally making a movie.

      Marcel is behind an old (even then) BOLEX 35MM MOVIE CAMERA,
      positioned low, looking up.

      Shosanna, the camera subject, stands on boxes looking down
      into it.

      A old-timey MICROPHONE is positioned out of frame.
      Genres: ["War","Drama","Thriller"]

      Summary Shosanna encounters a German soldier who tries to engage her in conversation. She is cautious and dismissive at first, but the soldier teases her and reveals he is a German war hero. Shosanna is intrigued by his stories but remains skeptical. They discuss the projectionist for an upcoming event at her cinema. The soldier hints at Private Zoller's romantic feelings for Shosanna, but she denies them. They have a brief conversation about smoking and the soldier eventually leaves. Shosanna breathes a sigh of relief and realizes a potential opportunity to sabotage the Nazis' event at her cinema.
      Strengths
      • Engaging dialogue
      • Establishes tension and intrigue
      Weaknesses
      • Limited conflict

      Ratings
      Overall

      Overall: 8

      The scene is well-written and effectively establishes tension and intrigue.


      Story Content

      Concept: 9

      The concept of a cinema owner potentially sabotaging a Nazi event is unique and engaging.

      Plot: 9

      The plot is well-developed and moves the story forward by introducing Shosanna's plan to sabotage the event.

      Originality: 7

      This scene demonstrates some originality by combining historical events and fictional elements. The presence of a German movie star working for England adds a unique twist to the narrative. The dialogue feels authentic and reflective of the time period.


      Character Development

      Characters: 7

      The characters are well-defined and their interactions drive the scene.

      Character Changes: 6

      Shosanna's character is changed by the potential opportunity to sabotage the event.

      Internal Goal: 8

      The protagonist's internal goal in this scene is to understand and gather information about Operation Kino and the mission assigned to him. This reflects his deeper desire to contribute to the war effort and potentially make a significant impact against the Nazis.

      External Goal: 9

      The protagonist's external goal in this scene is to receive a briefing on Operation Kino and understand the details of the mission. This reflects the immediate circumstance of needing to be well-informed and prepared for the upcoming gala premiere in Paris.


      Scene Elements

      Conflict Level: 5

      There is a low level of conflict in this scene as Shosanna navigates the conversation with the German soldier.

      Opposition: 7

      The opposition in this scene is moderate. While there is no immediate conflict or obstacle presented, the protagonist's mission to blow up the basket and the presence of high-ranking German officials create a sense of inherent opposition and risk.

      High Stakes: 7

      The stakes are high as Shosanna contemplates sabotaging the event and potentially endangering herself.

      Story Forward: 8

      The scene moves the story forward by introducing a plan to sabotage the Nazi event.

      Unpredictability: 6

      This scene has a moderate level of unpredictability as the protagonist learns about the mission and its details. The introduction of Bridget von Hammersmark, the German movie star working for England, adds some unexpected elements to the scene.

      Philosophical Conflict: 0

      There is not a clear philosophical conflict evident in this scene.


      Audience Engagement

      Emotional Impact: 6

      The scene elicits curiosity and intrigue from the audience.

      Dialogue: 8

      The dialogue is engaging and reveals important information about the characters and plot.

      Engagement: 7

      This scene is engaging because it introduces a new mission and provides information about the upcoming gala premiere. The dialogue and exchanges between characters create intrigue and anticipation for the events to come.

      Pacing: 8

      The pacing of the scene contributes to its effectiveness by maintaining a steady rhythm and balancing exposition with character interaction. The transitions and dialogue keep the scene moving forward without feeling rushed or slow.


      Technical Aspect

      Formatting: 9

      The formatting of this scene follows the expected format for its genre. It includes clear formatting for dialogue, scene descriptions, and transitions between locations.

      Structure: 8

      The structure of this scene follows the expected format for its genre. It begins with an exchange between two characters, followed by a briefing and exposition, and ends with a transition to a different location.


      Critique As a screenwriting expert, I would provide the following critique of the scene:

      1. Clarity of Dialogue: The dialogue in this scene is clear and effectively conveys the necessary information about the plot and operation. The conversation between Lt. Hicox and Gen. Fenech flows smoothly and the audience is able to understand the objective of Operation Kino.

      2. Characterization: The characters in this scene are well-defined and their personalities come through in their interactions. Lt. Hicox showcases his wit and intelligence, while Gen. Fenech is shown as a knowledgeable and experienced military officer.

      3. Exposition: The scene effectively provides necessary exposition about the operation, the characters, and the context of the story. The information is given in a natural and engaging manner, preventing it from feeling like a "data dump."

      4. Pacing: The scene has a good pace and keeps the audience engaged throughout. The conversation is engaging and filled with enough information to keep the scene moving forward.

      5. Visual Imagery: The scene could benefit from more visual description to provide a clearer picture of the setting and the actions of the characters. Adding more detail about the characters' expressions, gestures, and the environment could enhance the visual experience for the audience.

      Overall, the scene is well-written and effectively conveys the necessary information for the plot and character development. Adding more visual description could further enhance its impact.
      Suggestions Here are some suggestions to improve the scene:

      1. Establish the setting: Begin the scene with a brief description of the location, such as "INT. WAR ROOM - DAY" or "INT. HIGH-LEVEL MEETING ROOM - DAY." This will give the audience a clear visual of where the scene takes place.

      2. Show character reactions: Instead of stating that General Fenech looks at the prime minister and Churchill speaks, show their reactions through action and dialogue. For example, "General Fenech darts a confused glance at the prime minister, waiting for Churchill's response." This will make the scene more dynamic and engaging.

      3. Use more concise and natural dialogue: Some of the dialogue in the scene feels a bit long-winded and could be trimmed down for smoother delivery. For example, instead of "But Louis B. Mayer wouldn’t be Goebbels’ proper opposite number. I believe Goebbels sees himself closer to David O. Selznick," it could be simplified to "Actually, Goebbels sees himself more akin to David O. Selznick, not Louis B. Mayer."

      4. Include action beats and descriptions: To enhance the visual experience, consider adding action beats and descriptions to certain moments. For instance, when General Fenech resorts to peeking at his file, you can write "General Fenech quickly glances at his file, trying to recall the information."

      5. Vary sentence structures and lengths: The dialogue in the scene primarily consists of short, straightforward sentences. Adding sentence variety and complexity can create a more engaging rhythm. Mix in longer sentences, fragments, and interruptions to capture the natural flow of conversation.

      6. Avoid repetitive dialogue: The repeated questions about the film "Nation's Pride" make the conversation feel a bit redundant. Consider condensing that part of the dialogue or finding a different approach to convey the same information.

      7. Show character emotions and reactions: Instead of simply stating the characters' emotions, show their reactions through body language, facial expressions, or gestures. This will add depth and make the scene more visually appealing. For example, instead of stating that Fenech can't help suppressing a smile, describe his slight grin or subtle chuckle.

      8. Add more visual details: The scene could benefit from more visual descriptions to help the reader create a vivid image in their mind. Rather than just stating that Shosanna and Marcel are making a movie on the rooftop, describe the old cinema equipment they are using, the setting of the rooftop, and any unique characteristics that make it visually interesting.

      Remember, these are just suggestions, so feel free to adapt them to fit your own writing style and creative vision.



      Scene 23 -  Sabotage Plans
      As they always do, and always will, they speak FRENCH
      SUBTITLED into you know what.

      MARCEL
      We need a sync mark.

      SHOSANNA
      What is a sync mark?

      MARCEL
      An action and noise put together,
      So we can sync up the picture
      and sound.

      SHOSANNA
      How do we do that?

      MARCEL
      Clap your hands.

      She does.

      MARCEL
      In frame, imbecile.

      She claps her hands in front of her face.

      MARCEL
      Ready?

      Shosanna takes a deep breath, then:

      SHOSANNA
      Ready.

      MARCEL
      Action.

      WE CUT, BEFORE SHE SPEAKS, TO . . .
      [84]



      THE SCENE EARLIER BETWEEN MARCEL AND SHOSANNA IN THE
      LOBBY, ON THE STAIRS, TALKING ABOUT BURNING DOWN THE CINEMA.

      Big difference. This time, it’s in COLOR.

      MARCEL
      But how do we get it developed?
      Only a suicidal idiot like us would develop
      that footage. How do we get
      a 35mm print with a soundtrack?

      SHOSANNA
      Do you know one person who can do
      both things?

      MARCEL
      Of course, Gaspar. Very nice man,
      took care of all the experimental filmmakers.
      But nobody in their
      right mind would strike a print of
      what you’re talking about. If the
      Nazis found out, their life wouldn’t
      be worth this.

      He snaps his fingers.

      SHOSANNA
      In a wolf fight, you either eat the
      wolf or the wolf eats you. If we’re going to
      obliterate the Nazis,
      we have to use their tactics.

      MARCEL
      What does that mean?

      SHOSANNA
      We find somebody who can develop
      and process a 35mm print. And we
      make them do it or we kill them.
      Once we tell them what we want to
      do if they refuse, we have to kill
      them anyway or they’ll turn us in.

      MARCEL
      Would you do that?

      SHOSANNA
      Like that.

      Snaps her fingers.
      [85]



      INT—SMALL FILM-PROCESSING LAB—LATE NIGHT

      A old mom-and-pop film processing lab circa the thirties.
      Late late at night.

      GASPAR, the fatherly figure of all the experimental French
      filmmakers in the decade before German rule, takes a SAVAGE BEATING
      at the hands of his friend Marcel.

      Shosanna watches, pitiless.

      SHOSANNA
      Bring that fucker over here!
      Put his head down on that table.

      Marcel holds Gaspar’s arm behind him as he forces his head flat
      against the tabletop.

      Shosanna brings a HATCHET DOWN DEEP into the table, just by
      his face.

      SHOSANNA
      You either do what the fuck we tell
      you to, or I’ll bury this ax in your
      collaborating skull.

      GASPAR
      I’m not a collaborator!

      SHOSANNA
      Then prove it! Or does your manhood
      go no deeper than standing to piss? Marcel, do
      his wife and children
      know you?

      MARCEL
      Oui.

      SHOSANNA
      Then after we kill this dog for
      Germans, we’ll go and silence them.

      She lifts up the hatchet, raises it high . . .

      SHOSANNA
      Prepare to die, collaborator fucker!

      CUT TO

      GASPAR
      hands the couple a SMALL SILVER CAN OF 35MM FILM, Outside
      the shop window, it’s morning.
      [86]



      INT—PROJECTION ROOM

      WE SEE the five heavy silver film cans of Fredrick Zoller’s
      life story, “Nation’s Pride” (clearly marked), on the floor of
      the projection booth.

      The can for REEL 4 is open and empty.

      Shosanna’s at the editing bench. REEL 4 is up on the
      rewinds . . .

      Shosanna SPLICES her and Marcel’s footage into REEL 4 of Fredrick’s
      film, rewinds it, puts it back in the can, and
      puts a piece of RED TAPE on the REEL 4 CAN.

      She walks out of the booth, turning off the lights behind
      her, PLUNGING THE SCREEN INTO DARKNESS.

      BLACK FRAME

      FROM BLACK DISSOLVE TO


      EXT—LA LOUISIANE (TAVERN)—NIGHT

      We see a small basement tavern with an old rustic sign out
      front that reads “La Louisiane.”

      A SUBTITLE APPEARS:

      “The village of
      Nadine, France”

      TWO SHOT LT. HICOX and LT. ALDO RAINE
      Aldo is dressed like a French civilian. Hicox is dressed in a
      German gray S.S. captain’s uniform. They look out of a window, in
      an apartment, in the village of Nadine, overlooking the tavern.

      LT. ALDO
      You didn’t say the goddamn rendezvous was in a
      fuckin’ basement.

      LT. HICOX
      I didn’t know.

      LT. ALDO
      You said it was in a tavern?

      LT. HICOX
      It is a tavern.
      [87]



      LT. ALDO
      Yeah, in a basement. You know,
      fightin’ in a basement offers a lot
      of difficulties, number one being
      you’re fighting in a basement.

      Wilhelm Wicki joins the SHOT, dressed in a German S.S. lieutenant’s
      uniform.

      WICKI
      What if we go in there and she’s
      not even there?

      LT. HICOX
      We wait. Don’t worry. She’s a British spy.
      She’ll make the rendezvous.
      Genres: ["War","Drama"]

      Summary Shosanna and Marcel discuss their plan to sabotage the Nazis' event by incorporating their own footage into the film. They visit Gaspar, who they beat and threaten to force him to develop the film. Shosanna splices their footage into the reels and plunges the screen into darkness. The scene then shifts to Lt. Hicox and Lt. Aldo Raine waiting in a tavern basement for a rendezvous with a British spy.
      Strengths "Strong dialogue, escalating tension, and high stakes."
      Weaknesses "Some scenes may be too intense for some viewers."

      Ratings
      Overall

      Overall: 8

      The scene effectively builds tension and establishes the stakes for the characters. The dialogue is compelling and the actions carry weight.


      Story Content

      Concept: 7

      The concept of sabotaging the Nazis' event and using their own tactics is intriguing and adds depth to the plot.

      Plot: 8

      The plot advances as the characters discuss and execute their plan to sabotage the event. The scene introduces a new plot point with Lt. Hicox and Lt. Aldo Raine waiting for the rendezvous.

      Originality: 9

      This scene displays a level of originality through the unique situation of using film processing labs and 35mm prints in a resistance operation. The authenticity of the characters' actions and dialogue contributes to the originality of the scene.


      Character Development

      Characters: 8

      The characters of Shosanna, Marcel, and the newly introduced Lt. Hicox and Lt. Aldo Raine are multi-dimensional and their actions and dialogue drive the scene.

      Character Changes: 7

      Shosanna demonstrates her willingness to do whatever it takes to sabotage the Nazis' event. The introduction of Lt. Hicox and Lt. Aldo Raine adds new dimensions to the story.

      Internal Goal: 8

      The protagonist's internal goal in this scene is to find a way to develop and process a 35mm print with a soundtrack in order to carry out their plan. This goal reflects their desire to use the Nazis' tactics against them and ultimately obliterate them.

      External Goal: 9

      The protagonist's external goal in this scene is to obtain a 35mm print and sync it with sound in order to carry out their plan of killing Nazis in a cinema. This goal reflects the immediate challenge they are facing, which is the difficulty of obtaining the necessary materials and process to carry out their plan.


      Scene Elements

      Conflict Level: 8

      The conflict in the scene is primarily between Shosanna and Gaspar, as she threatens him to comply with their plan. There is also a sense of impending danger with Lt. Hicox and Lt. Aldo Raine waiting for the rendezvous.

      Opposition: 9

      The opposition in this scene is strong as the protagonist faces challenges in obtaining the necessary materials and convincing others to cooperate. The audience is uncertain about the outcome and the potential consequences for the characters.

      High Stakes: 9

      The stakes are high for the characters as they risk their lives to sabotage the Nazis' event and potentially face consequences if caught.

      Story Forward: 9

      The scene significantly moves the plot forward by establishing the characters' plan and introducing new plot points with Lt. Hicox and Lt. Aldo Raine.

      Unpredictability: 7

      This scene has a moderate level of unpredictability. While some actions and dialogue are expected for a resistance operation, there are also surprising moments such as the protagonist's willingness to resort to violence and manipulation.

      Philosophical Conflict: 7

      The philosophical conflict evident in this scene is the moral dilemma of using the Nazis' tactics to achieve their goals. This conflict challenges the protagonist's beliefs and values as they consider resorting to violence, intimidation, and manipulation to achieve their desired outcome.


      Audience Engagement

      Emotional Impact: 7

      The scene elicits a sense of tension and urgency, as well as highlighting the characters' determination and ruthlessness.

      Dialogue: 9

      The dialogue is sharp and engaging. It effectively conveys the characters' motivations and the tension in the scene.

      Engagement: 8

      This scene is engaging because it introduces a high-stakes mission and presents a clear conflict and goal for the protagonist. The dialogue and actions keep the audience interested and invested in the outcome.

      Pacing: 8

      The pacing of this scene is effective in maintaining the tension and momentum. The dialogue and action are balanced, keeping the scene moving at a appropriate pace for the genre.


      Technical Aspect

      Formatting: 0

      Structure: 8

      The structure of this scene follows the expected format for its genre. It begins with dialogue, transitions to action, and ends with a cliffhanger that leads into the next scene.


      Critique Overall, this scene effectively conveys the urgency and stakes of the characters' mission. The dialogue is concise and straight to the point, keeping the scene moving at a good pace. The use of French language with subtitles adds an authentic touch to the setting and characters.

      However, there are a few areas for improvement. The transitions between scenes could be smoother, as some of the cuts feel abrupt. Additionally, the physical action in the scene where Shosanna and Marcel confront Gaspar could be described more vividly to enhance the tension and impact of the moment. Finally, some of the characterizations could be further developed to deepen the emotional impact of the scene, particularly with Marcel and Shosanna's motivations for resorting to violence.

      Overall, with some refinements, this scene has the potential to be a strong and impactful moment in the screenplay.
      Suggestions Here are some suggestions to improve the scene:

      1. Clarify the setting: Specify the location of the scene at the beginning, so that it is clear where the characters are and what is happening.
      2. Provide character descriptions: Add some brief descriptions of the characters at the beginning, just to give the readers a visual sense of who they are.
      3. Break up the dialogue: Break up the dialogue into smaller paragraphs, each representing a different character's lines. This makes it easier to read and follow the conversation.
      4. Add more action and visuals: Include more visual cues and actions to make the scene more engaging. Show the characters' facial expressions, body language, and reactions to what is being said.
      5. Show, don't tell: Instead of having the characters explicitly state what they are going to do, show their actions and let the readers infer their intentions.
      6. Streamline the dialogue: Simplify the dialogue to make it more concise and to the point. Avoid repetitive or unnecessary lines.
      7. Consider formatting: Make sure the scene is properly formatted with correct indentations and capitalizations.

      Overall, these suggestions will help make the scene more engaging, visually descriptive, and easier to comprehend.



      Scene 24 -  German Soldiers' Meeting
      WE SEE that the other Basterds, dressed in French civilian clothes,
      are in the room as well. They are Donowitz, Hirschberg,
      and Utivich. And in the back of the room, dressed in the gray
      uniform of an S.S. lieutenant, Hugo Stiglitz sits off by himself,
      sharpening his S.S. DAGGER on his leather belt, looped around his
      boot. Anybody not in the scene from the Basterd’s opening
      chapter is dead.

      Lt. Hicox watches Stiglitz off by himself on the other side of the
      room SHARPENING his dagger menacingly.

      Stiglitz is fucking weird . . .

      Lt. Hicox approaches Stiglitz . . .

      LT. HICOX
      Stiglitz, right?

      STIGLITZ
      That’s right, sir.

      He continues bringing the blade’s edge up, then down on the leather
      strap.

      LT. HICOX
      I hear you’re pretty good with that?

      Meaning the blade.
      Stiglitz doesn’t answer.

      LT. HICOX
      You know, we’re not looking for
      trouble right now. We’re simply
      making contact with our agent.
      Should be uneventful. However, on
      the off chance I’m wrong and things prove
      eventful, I need to know we can all remain
      calm.
      [88]



      The renegade Gerry sergeant stops his blade’s progress and
      looks up at the limey lieutenant.

      STIGLITZ
      I don’t look calm to you?

      LT. HICOX
      Well, now you put it like that, I guess you do.

      He turns his attention back to his blade.

      Hicox moves over to Aldo and asks him privately:

      LT. HICOX
      This Gerry of yours, Stiglitz?
      Not exactly the loquacious type,
      is he?

      Aldo just looks at him.

      LT. ALDO
      Is that the kinda man you need, the loquacious
      type?

      LT. HICOX
      Fair point, Lieutenant.

      LT. ALDO
      So y’all git in trouble in there,
      what are we supposed to do?
      Make bets on how it all comes out?

      LT. HICOX
      If we get into trouble, we can
      handle it. But if trouble does
      happen, we need you to make damn
      sure no Germans or French, for that matter—
      escape from that basement.
      If Fräulein von Hammersmark’s cover is
      compromised, the mission is kaput.

      Donny chimes in:

      SGT. DONOWITZ
      Speaking of Fräulein von Hammersmark, whose
      idea was it for the death trap rendezvous?

      LT. HICOX
      She chose the spot.

      SGT. DONOWITZ
      Well, isn’t that just dandy?
      [89]



      LT. HICOX
      Look, she’s not a military strategist. She’s
      just an actress.

      LT. ALDO
      Ya don’t got to be Stonewall
      Jackson to know you don’t want to
      fight in a basement.

      LT. HICOX
      She wasn’t picking a place to fight.
      She was picking a place isolated
      and without Germans.

      PFC. HIRSCHBERG
      Lieutenant, I hate to be contrary,
      but I got me a Nazi pissin’ on
      Louisiana two o’clock.

      They move to the window, and sure enough, ONE LONE NAZI
      PRIVATE relieves himself against the side wall.

      Lt. Hicox, this was definitely not the plan.

      LT. HICOX
      Shit.

      Sgt. Donowitz chides him:

      SGT. DONOWITZ
      So what do you think your Fräulein
      von Hammer—

      LT. HICOX
      —Obviously, I don’t know, Sergeant.

      The British officer watches the German soldier, who’s not
      supposed to be there. When Hugo Stiglitz joins him at the
      window, Stiglitz looks down at the urinating Nazi, S.S. dagger
      in hand.

      STIGLITZ
      If we’re going, let’s go.

      He sheaths the dagger.

      EXT—LA LOUISIANE (BASEMENT TAVERN)—NIGHT

      The GERMAN PISSING PRIVATE sloppily finishes his task.
      Cramming his noodle back in his pants, he descends the stairs
      that lead him back into the basement tavern. We follow him . . .
      [90]



      INT—LA LOUISIANE (BASEMENT TAVERN)—NIGHT

      Inside the basement tavern La Louisiane. It has a very low-hanging
      basement ceiling. A old-looking wood bar off to the right. And the
      only other space in the little tavern is taken
      up by two large (at least in here) tables, which take up both
      halves of the room. And despite rumors to the contrary, one of the
      two tables is completely filled with drunken, celebrating
      Nazi enlisted men, of which our urinating friend is one of
      five.

      FIVE NAZIS
      ONE GERMAN MASTER SERGEANT, ONE FEMALE GERMAN SERGEANT (a
      powerfully built, stocky type), and THREE MALE GERMAN SOLDIERS.

      The five Nazis are sitting around the table, drinking, and
      playing a very fun game with none other than the Fräulein of
      the hour, UFA diva BRIDGET VON HAMMERSMARK, dressed to the
      nines in a chic, forties-style woman’s suit, complete with fedora.
      The game they’re playing consists of each player having
      a card with the name of a famous person, real or imaginary,
      stuck to their forehead. The player doesn’t know what name is
      on their forehead. So they ask the others questions to figure
      out who they are.

      The five Germans’ five cards read: MASTER SGT #1: (POLA NEGRI);
      FEMALE SGT #2: (BEETHOVEN); GERMAN PRIVATE #3: (MATA HARI);
      GERMAN PRIVATE #4: (EDGAR WALLACE); GERMAN PRIVATE #5:
      (WINNETOU). And Bridget von Hammersmark, who wears her card in
      the brim of her fedora, has GENGHIS KHAN.

      It’s German #5’s (WINNETOU) turn to ask questions.

      The DIALOGUE will be in GERMAN and SUBTITLED IN ENGLISH.

      WINNETOU
      . . . okay, I’m not German. Am I American?

      The whole table bursts out laughing.

      FEMALE SGT. BEETHOVEN
      Yes, you are!

      EDGAR WALLACE
      Well, not really.
      Genres: []

      Summary Lt. Hicox and the other Basterds meet in a basement tavern to discuss their mission. They express concern about the chosen rendezvous spot and the presence of a German soldier. The scene ends with the German soldier returning to the tavern.
      Strengths
        Weaknesses

          Ratings
          Overall

          Overall: 7

          The scene is well-executed and effectively sets up tension and conflict.


          Story Content

          Concept: 6

          The concept of a secret meeting in a tavern is a classic trope in spy and war films.

          Plot: 7

          The plot progresses as the characters discuss their mission and the potential danger of the chosen rendezvous spot.

          Originality: 6

          This scene demonstrates a moderate level of originality. While the setting of a basement tavern during World War II is a familiar one, the specific dynamics and interactions between the characters provide fresher elements. The authenticity of the characters' actions and dialogue adds to the originality.


          Character Development

          Characters: 8

          The characters are well-defined and establish their roles within the group.

          Character Changes: 5

          There is no significant character change in this scene.

          Internal Goal: 7

          The protagonist's internal goal in this scene is to ensure that the mission remains uneventful and that everyone can remain calm if trouble arises. This goal reflects the protagonist's desire for success in their mission and the fear of failure.

          External Goal: 8

          The protagonist's external goal in this scene is to make contact with their agent without complications. This goal reflects the immediate circumstances and challenges they are facing, as well as the need for secrecy and successful execution of the mission.


          Scene Elements

          Conflict Level: 7

          There is a conflict between the Basterds' mission and the presence of the German soldier.

          Opposition: 8

          The opposition in this scene is strong as the protagonist faces challenges from the urinating Nazi soldier and the presence of Stiglitz, who appears unpredictable and potentially dangerous. The audience is unsure of how these oppositions will affect the mission.

          High Stakes: 6

          The stakes are moderately high, as the success of the mission depends on the secrecy of the rendezvous spot.

          Story Forward: 7

          The scene moves the story forward by establishing the potential danger and tension for the mission.

          Unpredictability: 7

          This scene has a moderate level of unpredictability because the audience is unsure of how the characters' interactions will escalate or how the presence of the urinating Nazi soldier will impact the mission.

          Philosophical Conflict: 0

          There is no evident philosophical conflict in this scene.


          Audience Engagement

          Emotional Impact: 5

          There is minimal emotional impact in this scene.

          Dialogue: 6

          The dialogue is functional and helps move the plot forward.

          Engagement: 9

          This scene is engaging because it presents a tense interaction between characters in a high-stakes situation. The dialogue and character dynamics keep the audience interested and invested in the outcome of the scene.

          Pacing: 8

          The pacing and rhythm of the scene contribute to its effectiveness by creating a sense of tension and urgency. The concise dialogue and the suspenseful actions maintain a steady pace that keeps the audience engaged.


          Technical Aspect

          Formatting: 9

          The formatting of this scene follows the expected format for its genre. It includes scene headings, character names, and dialogue in a clear and organized manner.

          Structure: 8

          The structure of this scene follows the expected format for its genre. It introduces the setting, establishes the characters, and presents their dialogue and interactions in a logical sequence.


          Critique Overall, this scene effectively establishes the tension and dynamics between the Basterds and Stiglitz. The dialogue is concise and serves the purpose of revealing character traits and setting up the stakes for the upcoming mission. The use of humor in the game scene adds a light-hearted element while also building suspense. However, there are a few areas that could be improved upon:

          1. Description: The scene could benefit from more descriptive language to enhance the visual imagery. For example, providing details about the atmosphere of the tavern or the appearance of the characters would make the scene more engaging.

          2. Characterization: While the dialogue does provide some insight into the characters, there could be more opportunities to delve deeper into their personalities and motivations. This would help create more fully realized and multi-dimensional characters.

          3. Pacing: The transition from Lt. Hicox approaching Stiglitz to the conversation about Fräulein von Hammersmark feels abrupt. Giving a smoother transition or more development to this exchange would improve the flow of the scene.

          4. Subtlety: The line where Stiglitz comments on his supposed calmness feels a bit on-the-nose. Adding more nuance to the dialogue would make it more realistic and intriguing.

          Overall, this scene is effective in establishing the tension and dynamics within the group. With some improvements in description, characterization, pacing, and subtlety, it could be even stronger.
          Suggestions Here are a few suggestions to improve this scene:

          1. Add more visual details: Describe the setting in more detail to create a vivid picture for the readers. For example, you could mention the dim lighting, the smell of smoke, or any unique features of the room.

          2. Show character dynamics: Use action and body language to illustrate the relationships and dynamics between the characters. Instead of just stating that Lt. Hicox watches Stiglitz, show his reactions and body language that indicate his thoughts or feelings towards Stiglitz.

          3. Develop Stiglitz's character: Since Stiglitz is described as "fucking weird," consider adding some specific actions or dialogue that showcase his unusual behavior. This will help the audience understand why he is considered strange.

          4. Increase tension: Find opportunities to build tension and suspense in the scene. This can be achieved through dialogue, action, or even the description of the environment. Think about ways to make the readers or audience feel uneasy or unsure of what might happen next.

          5. Vary sentence structure: Mix up the sentence structure to create a more engaging read. Consider adding shorter, more impactful sentences to emphasize certain moments or to increase the pace of the scene.

          6. Show character reactions: Instead of explicitly stating Lt. Hicox's thoughts, show his reactions to Stiglitz's behavior. Use body language, facial expressions, or dialogue to convey his unease or curiosity.

          7. Clarify character motivations: Make sure the characters' motivations and goals are clear. Why is Hicox approaching Stiglitz? Why does he need everyone to remain calm? Adding more context to their conversation can help the audience understand their objectives.

          8. Use more descriptive language: Enhance the language and imagery used in the dialogue. Instead of using generic phrases like "not exactly the loquacious type," find more evocative and distinctive language that captures the characters' personalities.

          9. Consider pacing: Evaluate the pacing of the scene and determine if it aligns with the overall tone and pacing of the script. If necessary, make adjustments to ensure the scene flows smoothly and maintains the audience's attention.

          10. Review and tighten dialogue: Read through the dialogue and consider if there are any areas that can be tightened or made more concise. Remove any unnecessary dialogue or repetition to streamline the scene.



          Scene 25 -  Scheming in the Tavern
          SGT. POLA NEGRI
          What do you mean, not really? Of
          course he is.
          [91]



          EDGAR WALLACE
          Well, if he’s so American, how come
          he’s never been translated into
          English. He’s not American. He’s supposed to be
          American, but he’s not
          an American creation. In fact, he’s something
          very different.

          WINNETOU
          Okay, I’m a fictional, literary character, from
          the past. I’m American, and that’s
          controversial.

          BRIDGET/GENGUS
          No, it’s not controversial. The nationality of
          the author has nothing to do with
          the nationality of the character.
          The character is the character.
          Hamlet’s not British, he’s Danish.
          So, yes, this character was born in
          America.

          WINNETOU
          Well, I’m glad that’s settled. If I had a wife,
          would she be called a squaw?

          He’s got it.

          The table laughs.

          THE TABLE
          YES!

          WINNETOU
          Is my blood brother Old Shatterhand?

          THE TABLE
          Yes!

          WINNETOU
          Did Karl May write me?

          THE TABLE
          Yes!

          In the BACKGROUND, WE SEE our three counterfeit German
          officers—Hicox, Wicki, and Stiglitz—enter the basement
          tavern. They obviously see the five German soldiers, but they’re
          too far away for us (the audience) to read their faces. No
          doubt they’re less than happy. Fräuhlein von Hammersmark
          sees them as well. Without getting up, she waves to them.
          [92]



          BRIDGET
          Hello, my lovelies. I will join you
          in moments. I’m finishing up a game
          with my five new friends here.

          LT. HICOX
          No hurry, Fräulein von Hammersmark.
          Take your time. Enjoy yourself.

          BRIDGET
          (to Winnetou)
          So who are you?

          WINNETOU
          I am WINNETOU, CHIEF of the APACHES!

          The table CHEERS and APPLAUDS the Apache chief as he takes the card
          off his forehead.

          The other four German soldiers drink down their beer (part of
          the game).

          Bridget von Hammersmark knocks back her champagne.

          MATA HARI
          Fräulein von Hammersmark, when your friends
          came in, did you realize
          you did a double take, like in the movies?

          BRIDGET
          Really? No, I wasn’t aware of that
          at all.

          MATA HARI
          They must be second nature to you now. Did they
          teach you how to do a double take in the
          movies?

          BRIDGET
          Well, yes, they did, but it’s not really that
          difficult.

          SGT. POLA NEGRI
          Do one for us.

          The table heartily agrees.

          Bridget looks directly at the master sergeant and does a perfect,
          and perfectly funny, double take.

          The table loves it.
          [93]



          MATA HARI
          My turn, I want to try.

          Mata Hari looks directly at Beethoven and does a double
          take.

          EDGAR WALLACE
          I want to try.

          He does.

          Soon the whole table is doing dueling double takes.

          HICOX—WICKI—STIGLITZ
          watch the table do dueling double takes. Obviously, they don’t
          understand.

          THEN . . .

          Bridget von Hammersmark rises and excuses herself from the
          table. She removes the card stuck in her fedora, looking at
          the name for the first time. Genghis Khan.

          BRIDGET
          Genghis Khan! I would never have gotten that.

          She walks over and joins the masquerading Germans’ table. The
          gentlemen rise. She greets each warmly with a French cheek
          kiss, as if she knows them well.

          They all take a seat. The two basterds and one Brit drink whiskey.
          The tavern’s PROPRIETOR, an older, big-bellied
          Frenchman named EARL, comes over to the table and pours more
          champagne into Bridget’s champagne glass. He leaves, returning back
          behind the bar, with the YOUNG FRENCH BARMAID, the only other
          person in the establishment.

          Obviously, they speak GERMAN, SUBTITLED IN ENGLISH:

          LT. HICOX
          I thought this place was supposed to have more
          French than Germans?

          BRIDGET
          Normally that’s true. The sergeant over there’s
          wife just had a baby. His commanding officer
          gave him and his
          mates the night off to celebrate.

          WICKI
          We should leave.
          [94]



          BRIDGET
          No, we should stay. For one drink at least.
          I’ve been waiting for you in a bar. It would
          look strange if we left before we had a drink.

          LT. HICOX
          She’s right. Just be calm, and enjoy your
          booze.

          BACK TO THE GERMAN TABLE

          The French barmaid has taken Bridget’s place in the rousing, rowdy
          game. She tells them her person must be French or she
          won’t know them. Winnetou thinks for a moment, then writes a
          name on a card. The barmaid puts it on her forehead. It says:
          NAPOLEON.

          The Germans all laugh.

          BACK TO THE BASTERDS’ TABLE

          BRIDGET
          There’s been some new developments.
          The cinema venue has changed.

          LT. HICOX
          Why?
          Genres: ["Historical","War","Drama","Comedy"]

          Summary Shosanna encounters a German soldier who teases her about a projectionist for an upcoming event. They discuss smoking and Private Zoller's romantic feelings for Shosanna. Shosanna realizes an opportunity to sabotage the Nazis' event.
          Strengths "Tension, suspense, character development"
          Weaknesses "Some dialogue could be more engaging"

          Ratings
          Overall

          Overall: 9

          The scene is well-executed and effectively sets up the tension and potential for sabotage in the story.


          Story Content

          Concept: 7

          The concept of a cinema owner planning to sabotage a Nazi event is unique and engaging.

          Plot: 8

          The plot advances as Shosanna realizes an opportunity to sabotage the event at her cinema.

          Originality: 6

          The level of originality in this scene is moderate. While the concept of spies and secret identities during wartime is familiar, the mix of comedy and suspense in the dialogue and the unique game being played adds some freshness to the scene. The characters' actions and dialogue feel authentic and true to the setting.


          Character Development

          Characters: 8

          The characters, particularly Shosanna, are well-developed and their actions and motivations are clear.

          Character Changes: 6

          Shosanna experiences a subtle change as she goes from being dismissive of the soldier to realizing the potential for sabotage.

          Internal Goal: 8

          The protagonist's internal goal is to maintain her cover and keep her true identity hidden from the German soldiers while gathering information and coordinating with her fellow resistance fighters.

          External Goal: 9

          The protagonist's external goal is to relay important information about a change in the venue for a cinema event to her fellow resistance fighters.


          Scene Elements

          Conflict Level: 7

          There is a moderate level of conflict in the scene, primarily stemming from the tension between Shosanna and the German soldier.

          Opposition: 6

          The opposition in this scene is moderate. While there are minor obstacles and challenges for the protagonist, such as maintaining her cover and hiding her true identity, the audience has a sense that the greater opposition lies ahead in the form of the German soldiers and the mission they are undertaking.

          High Stakes: 7

          The stakes are high as Shosanna considers sabotaging the Nazis' event and risks discovery and retaliation.

          Story Forward: 8

          The scene moves the story forward by introducing the opportunity for sabotage and setting up the next plot developments involving Lt. Hicox and Lt. Aldo Raine.

          Unpredictability: 7

          This scene has a moderate level of unpredictability. While some actions and dialogue are expected given the context of the scene, there are instances where the characters' choices and reactions are surprising and keep the audience guessing.

          Philosophical Conflict: 0

          There is no clear philosophical conflict evident in this scene.


          Audience Engagement

          Emotional Impact: 6

          The scene elicits some emotional impact through the build-up of tension and Shosanna's realization of an opportunity.

          Dialogue: 6

          The dialogue is mostly functional and serves the purpose of conveying information and establishing tension.

          Engagement: 9

          This scene is engaging because it introduces an interesting group of characters, creates tension and suspense through the secret identities and covert conversations, and balances it with moments of humor and light-heartedness.

          Pacing: 8

          The pacing of the scene contributes to its effectiveness by alternating between faster-paced moments of dialogue and action, and slower-paced moments of suspense and tension. This creates a dynamic and engaging rhythm that keeps the audience hooked.


          Technical Aspect

          Formatting: 8

          The formatting of this scene follows the expected format for its genre. It uses proper scene headings, action lines, and dialogue format to effectively convey the story and engage the reader.

          Structure: 9

          The structure of this scene follows the expected format for its genre. It introduces the setting and characters, establishes the conflict and goals, and moves the plot forward through character interactions and dialogue.


          Critique Overall, this scene from the script features strong dialogue that effectively establishes the characters and their relationships. The banter between the characters is witty and entertaining, particularly the discussions about nationalities and fictional characters. The double take sequence adds humor and showcases the camaraderie among the characters. The introduction of the German officers adds tension to the scene and sets up the conflict to come.

          However, there are a few areas that could be improved upon. Firstly, the transition between the discussion at the table and Bridget von Hammersmark joining the German table feels a bit abrupt. It would benefit from a smoother transition or a clearer reason for her move. Additionally, the dialogue in the German table scene lacks the same level of wit and humor as the previous dialogue. It could be strengthened to match the tone of the rest of the scene. Finally, the transition from the dialogue to the discussion with the French barmaid feels slightly disjointed and could be better integrated into the scene.

          Overall, this scene shows promise and effectively sets up the tension and conflict to come, but could benefit from some small adjustments to improve the flow and consistency of the dialogue.
          Suggestions Here are some suggestions to improve the scene:

          1. Make the dialogue more concise and focused: Some of the dialogue in the scene feels repetitive or unrelated to the main plot. Consider condensing and rephrasing certain lines to make the conversation more streamlined.

          2. Clarify the emotions and intentions of the characters: Throughout the scene, it would be helpful to add more descriptions and action beats to convey the characters' emotions and intentions. This will make the scene more engaging and help the audience connect with the characters.

          3. Add visual elements to enhance the scene: As a screenwriter, it's important to think visually and incorporate visual elements into the scene. Consider adding more details about the setting, character actions, and reactions to make the scene visually dynamic.

          4. Create a clear transition between the two tables: When Bridget von Hammersmark joins the masquerading Germans' table, it would be helpful to incorporate a clear transition or action to signify the change in setting and characters. This will make the scene flow more smoothly and prevent confusion for the audience.

          5. Develop the tension between the masquerading Germans and the Basterds: The presence of the masquerading Germans adds tension to the scene, but it could be further developed. Consider adding more interactions or exchanges between the characters to heighten the tension and create a sense of impending conflict.

          6. Consider the overall pacing of the scene: As scene number 25 out of 44, it's important to consider the overall pacing of the film. Make sure the scene is appropriately paced to maintain the audience's interest and momentum. This could include trimming or rearranging certain lines or actions to maintain the scene's energy.



          Scene 26 -  Maximilian's Autograph
          BRIDGET
          No one knows. But that in itself shouldn’t be a
          problem. The cinema
          it’s been changed to is considerably smaller
          than The Ritz. So whatever materials you
          brought for The Ritz should be doubly effective
          here.
          Now this next piece of information
          is colossal, try not to overreact.
          The Führer will be attending tomorrow.

          Hugo Stiglitz does a SPIT-TAKE.

          Bridget’s eyes bore holes in him.

          BACK TO THE REAL GERMANS
          They see Hugo do the spit-take and burst out laughing.
          Keeping it up, they begin to do dueling spit-takes, like they
          did dueling double takes earlier. Needless to say, they all
          get wet.
          [95]



          BACK TO THE BASTERDS

          BRIDGET
          (to Hicox)
          You’ll be going as Ernst Schuller. You’ll say
          you’re an associate producer on Riefenstahl’s
          “Tiefland.” It’s the
          one German production not under Goebbels’
          control, and Leni wouldn’t be caught dead at a
          Goebbels film affair.

          BACK TO THE REAL GERMAN TABLE
          Master Sgt. Pola Negri drinks his beer as he looks over, dreamily,
          at Bridget von Hammersmark at the other table.

          BACK TO THE BASTERDS
          Bridget continues to brief Hicox on his identity. We see in
          the B.G. the German master sergeant stand up from his table and
          head toward Fräulein von Hammersmark.

          BRIDGET
          . . . the film’s gone through many delays, and
          Leni’s health is deteriorating, so if you have
          to speak . . .

          Hicox, seeing the German master sergeant approach, signals for her
          to cool it.

          SGT. POLA NEGRI
          Fräulein von Hammersmark, I was just thinking,
          could you sign an autograph
          to my son on his birthday?

          BRIDGET
          I’d love to, Wilhelm.
          (to the table)
          This handsome happy sergeant just became a
          father today.

          The pretend officers offer congratulations to the sergeant.

          The German master sergeant CLICKS his heels and bows before his
          superior officers.

          SGT. POLA NEGRI
          Thank you. Heil Hitler.

          He raises his hand . . . as do the seated phony officers: “Heil
          Hitler.”

          As she takes a rather fancy fountain pen from her clutch . . .

          BRIDGET
          So, Wilhelm, do you know the name of this
          progeny yet?
          [96]



          SGT. POLA NEGRI
          I most certainly do, Fräulein. His
          name is Maximilian.

          Even the slightly psychotic Stiglitz likes this German sergeant.

          STIGLITZ
          Wonderful name, Sergeant.

          SGT. POLA NEGRI
          Thank you, Lieutenant. When he’s old enough to
          ride a bicycle, I will buy
          him a blue one. And I will paint on
          the side “The Blue Max.”

          He thrusts out his beer stein, for the officers to cheer.

          They do.

          Bridget finishes signing her autograph, with a big flourish.

          BRIDGET
          There you go. But wait, I’m not finished yet.

          She reaches into her clutch and pulls out some lipstick,
          applies some ruby-red color to her lips, and then kisses the
          napkin, leaving a big red lip print. Then she hands the treasured
          item to the young officer.

          BRIDGET
          Nothing but the best for little Maximilian.

          SGT. POLA NEGRI
          Thank you, Fräulein, thank you. Max may not
          know who you are now. But he will.
          I will show him all of your movies.
          He will grow up with your films,
          and this napkin on his wall.

          Then, to the whole tavern . . .

          SGT. POLA NEGRI
          I propose a toast to the greatest actress in
          Germany! There is no Dietrich, there is no
          Riefenstahl, only von Hammersmark!

          The whole room toasts.

          This would be a good time for the German sergeant to go back to his
          table and his men. And he almost does . . . but . . . since he is
          drunk, and star struck, he out wears his welcome.

          SGT. POLA NEGRI
          So, Fräulein von Hammersmark, what brings you
          to France?
          [97]



          Feeling any good Nazi officer’s patience would have been
          exhausted long ago, Lt. Hicox butts in.

          LT. HICOX
          None of your business, Sergeant.
          You might not have worn out your welcome with
          the fräulein with your drunken, boorish
          behavior, but you have worn out your welcome
          with me.

          The table of game-playing soldiers hears this and gets quiet.

          LT. HICOX
          Might I remind you Sergeant, you’re an enlisted man.
          This is an officers’ table. I suggest
          you stop pestering the fräulein and
          rejoin your table.

          The German master sergeant looks quizzically at the officer.

          SGT. POLA NEGRI
          Excuse me, Captain, but your accent is very
          unusual.

          The whole room pauses . . . for different reasons . . .

          SGT. POLA NEGRI
          Where are you from?

          A silent moment passes between the two tables, then the two German-
          born imposters spring into action.

          WICKI
          Sergeant! You must be either drunk or mad to
          speak to a superior officer with
          such impertinence!

          Stiglitz, STANDS and YELLS to the other table:
          Genres: ["War","Drama"]

          Summary Shosanna and Marcel meet with Gaspar to discuss their plan. They beat and threaten him to force him to develop their film. Shosanna splices their footage into the reels and plunges the screen into darkness. Meanwhile, Lt. Hicox and Lt. Aldo Raine wait in a tavern basement for a British spy. Shosanna encounters a German soldier and discusses the upcoming event. She realizes an opportunity to sabotage it.
          Strengths "Engaging dialogue, unique use of film as a tool for sabotage, mix of suspense and humor"
          Weaknesses "Some characters could be further developed"

          Ratings
          Overall

          Overall: 8

          The scene is well-written and engaging, with a mix of suspense, humor, and dramatic moments.


          Story Content

          Concept: 8

          The concept of using film as a tool for sabotage is unique and adds an interesting layer to the story.

          Plot: 8

          The plot is well-developed and advances the overall story of sabotaging the Nazis' event.

          Originality: 7

          This scene demonstrates a level of originality through its fresh approach to the World War II setting and the character dynamics. The actions and dialogue feel authentic to the time period and the stakes of the scene.


          Character Development

          Characters: 7

          The characters are interesting and their interactions add depth to the scene.

          Character Changes: 6

          The German soldier experiences a change in attitude towards Shosanna and the Basterds.

          Internal Goal: 8

          The protagonist's internal goal in this scene is to maintain her cover and successfully complete her mission to gather information.

          External Goal: 9

          The protagonist's external goal in this scene is to convince Hugo Stiglitz to not blow their cover and to handle the situation with the German master sergeant.


          Scene Elements

          Conflict Level: 6

          There is moderate conflict in the scene, primarily between Shosanna and the German soldier.

          Opposition: 8

          The opposition in this scene is strong, as the protagonist faces challenges from multiple sources, including the German soldiers and Hugo Stiglitz's impulsive behavior.

          High Stakes: 7

          The stakes are high as Shosanna plans to sabotage the event and potentially put herself in danger.

          Story Forward: 8

          The scene moves the story forward by revealing Shosanna's plan and introducing potential conflict.

          Unpredictability: 7

          This scene is somewhat unpredictable due to the unexpected actions and reactions of the characters, such as the spit-take and the German master sergeant's persistence.

          Philosophical Conflict: 6

          There is a philosophical conflict evident in the scene between the protagonist's desire to deceive and outsmart the Nazis, and the loyalty and patriotism of the German soldiers.


          Audience Engagement

          Emotional Impact: 6

          The scene elicits a range of emotions, including suspense, tension, and humor.

          Dialogue: 7

          The dialogue is witty and engaging, with a mix of humor and tension.

          Engagement: 9

          This scene is engaging because of its mix of tension, humor, and dramatic irony. The reader or viewer is invested in the protagonist's mission and intrigued by the interactions between the characters.

          Pacing: 8

          The pacing and rhythm of this scene contribute to its effectiveness by creating a gradual build-up of tension and suspense. The dialogue and action flow smoothly and maintain the audience's interest.


          Technical Aspect

          Formatting: 9

          The formatting of this scene follows the expected format for its genre, with clear scene headings, dialogue, and action descriptions. The use of transitions and character cues is effective.

          Structure: 8

          The structure of this scene follows the expected format for its genre, smoothly transitioning between different character perspectives and advancing the plot.


          Critique Overall, this scene is well-written and engaging. The dialogue flows smoothly and the actions of the characters are clear. However, there are a few areas where improvements could be made.

          Firstly, the introduction of the scene could be stronger. It jumps right into Bridget's dialogue without any context or establishment of the setting. Adding a brief description of the location and the characters present would help orient the reader.

          In terms of dialogue, there are a few instances where it feels a bit unnatural. For example, when Bridget says "This next piece of information is colossal, try not to overreact," it sounds too directly instructive to the audience. Consider finding a more subtle way for Bridget to convey the importance of the upcoming information.

          Additionally, the use of "dramatic" actions like spit-takes and dueling spit-takes feels a bit forced and comedic, especially in a scene with such serious subject matter. It breaks the tension created by Bridget's announcement about the Führer attending the event. Consider finding a more grounded and realistic way for the German soldiers to react.

          The dialogue between Bridget and Hicox is well-written and informative, effectively establishing their mission and Hicox's character. However, the interaction between Sgt. Pola Negri and Bridget feels a bit contrived and doesn't contribute much to the story. It could benefit from more purpose or a stronger connection to the main plot.

          Finally, the confrontation between Hicox and Sgt. Pola Negri feels a bit rushed, with Hicox immediately dismissing the sergeant's questions in a somewhat confrontational manner. It would be more effective to build up the tension between them gradually, allowing the audience to feel the escalating tension before Hicox finally steps in.

          Overall, with some tweaks to dialogue and character interactions, this scene has the potential to be a strong and impactful moment in the script.
          Suggestions - Consider condensing the dialogue to make it more concise and impactful. Cut out any unnecessary information or repetition.
          - Make sure the dialogue flows naturally and sounds authentic to the characters. Consider how each character would actually speak in this situation and make adjustments as needed.
          - Add more visual descriptions and actions to enhance the scene and engage the reader. This will make the scene more dynamic and interesting to read.
          - Clarify who is speaking in each moment to avoid confusion for the reader.
          - Consider adding more tension and conflict between characters to increase the stakes and keep the audience engaged.
          - Check for any spelling or grammatical errors and make corrections as needed.



          Scene 27 -  The Gestapo Encounter
          STIGLITZ
          I’m making YOU . . .
          (pointing at
          Winnetou)
          . . . and YOU . . .
          (pointing at
          Edgar Wallace)
          . . . responsible for him.
          (pointing at
          Sgt. Pola)
          I suggest you take hold of your friend, or
          he’ll spend Max’s first birthday
          in jail for public drunkenness!
          [98]



          The Germans SPRING UP and take hold of Sgt. Pola . . .

          WHEN . . .

          A GERMAN VOICE rings out:

          GERMAN VOICE (OS)
          Then might I inquire?

          The five known Germans move aside, revealing the unknown German
          in the room, unseen till now, our old friend from before:
          MAJOR DIETER HELLSTROM of the GESTAPO. The major stands from
          the little table he was sitting at.

          MAJOR HELLSTROM
          Like the young, newly christened father, I to
          have an acute ear for accents.
          And like him, I too find yours odd.
          From where do you hail, Captain?

          Wicki jumps in:

          WICKI
          Major, this is highly inappr—

          MAJOR HELLSTROM
          —I wasn’t speaking to you,
          Lieutenant Saltzberg,
          (turning to
          Stiglitz)
          or you either, Lieutenant Berlin.
          (looking at
          Hicox)
          I was speaking to Captain I-don’t-know-what.

          The Gestapo major is now standing beside Sgt. Pola, before the
          imposter’s table.

          Lt. Hicox calmly explains his origin.

          LT. HICOX
          I was born in the village that rests
          in the shadow of Pitz Palu.

          MAJOR HELLSTROM
          The mountain?

          LT. HICOX
          Yes. In that village we all speak like this.
          Have you seen the Riefenstahl film?

          MAJOR HELLSTROM
          Yes.
          [99]



          LT. HICOX
          Then you saw me. You remember the skiing torch
          scene?

          MAJOR HELLSTROM
          Yes, I do.

          LT. HICOX
          In that scene were myself, my father,
          my sister, and my two brothers. My brother is
          so handsome, the director, Pabst, gave him a
          closeup.

          As Bridget von Hammersmark places a cigarette in an ivory cigarette
          holder—which Hicox, as if on cue, lights for her
          she says:

          BRIDGET
          Major, if my word means anything, I can vouch
          for everything the young captain has just said.
          He does hail from the bottom of Pitz Palu, he
          was in the film, and his brother is far more
          handsome than he.

          The imposters laugh.

          Then . . . so does the Gestapo major. He turns to the sergeant.

          MAJOR HELLSTROM
          You should rejoin your friends.

          Which the young sergeant is more than happy to do. That table
          begins playing their game again.

          Major Hellstrom, the highest-ranking officer in the room, bows
          graciously to the female German celebrity.

          MAJOR HELLSTROM
          May I join you?

          BRIDGET
          By all means, Major.

          The Gestapo major sits at the table, opposite Lt. Hicox and Wicki.
          The French barmaid brings over the Major’s beer stein.

          MAJOR HELLSTROM
          So that’s the source of your bizarre accent?
          Extraordinary. So what are
          you doing here, Captain?

          LT. HICOX
          Aside from having a drink with the lovely
          fräulein?
          [100]



          MAJOR HELLSTROM
          Well, that pleasure requires no explanation.

          Chuckle . . . chuckle

          MAJOR HELLSTROM
          I mean in country. You’re obviously not
          stationed in France, or I’d know who
          you are.

          LT. HICOX
          You know every German in France?

          MAJOR HELLSTROM
          Worth knowing.

          LT. HICOX
          Well, therein lies the problem. We
          never claimed to be worth knowing.

          Chuckle . . . chuckle.

          MAJOR HELLSTROM
          (chuckling as
          he asks)
          All levity aside, what are you doing
          in France?

          LT. HICOX
          Attending Goebbels’s film premiere as
          the fräulein’s escort.

          MAJOR HELLSTROM
          You’re the fräulein’s escort?

          LT. HICOX
          Somebody has to carry the lighter.

          Chuckle . . . chuckle.

          BRIDGET
          The captain is my date, but all three are my
          guests. We’re old friends, Major, who go back a
          long time. Longer than
          an actress would care to admit.

          Chuckle . . . chuckle.

          MAJOR HELLSTROM
          Well, in that case, let me raise a glass to the
          three luckiest men in the room.

          BRIDGET
          I’ll drink to that.
          [101]



          They cheers.

          BACK TO THE REAL GERMANS’ TABLE

          They continue to have a lot of fun playing their game.

          BACK TO THE OFFICERS’ TABLE

          MAJOR HELLSTROM
          I must say, that game they’re playing
          looks like a good bit of fun. I didn’t
          join them, because you’re quite right, Captain,
          officers and enlisted men shouldn’t
          fraternize. But seeing as we’re all
          officers here,
          (bowing to
          Bridget)
          . . . and sophisticated lady friends of
          officers, what say we play the game?
          Genres: ["War","Drama","Thriller"]

          Summary Lt. Hicox and the Basterds meet with Major Hellstrom in a tavern basement. Hicox successfully convinces Hellstrom of his German origin and they engage in a friendly conversation. Bridget von Hammersmark vouches for Hicox's backstory. Hellstrom invites them to join the Germans' game.
          Strengths
          • Tense and suspenseful atmosphere
          • Strong dialogue and character interactions
          • Effective use of humor to balance tension
          Weaknesses

            Ratings
            Overall

            Overall: 8

            The scene is well-crafted and tense, with strong dialogue and a touch of humor. It effectively establishes the conflict and tension between the Basterds and Major Hellstrom.


            Story Content

            Concept: 7

            The concept of the Basterds infiltrating a tavern under the pretense of being German officers is intriguing and creates suspense. The encounter with Major Hellstrom adds a layer of danger and complexity to the scene.

            Plot: 8

            The plot of the scene revolves around Lt. Hicox and the Basterds successfully deceiving Major Hellstrom and gaining his trust. It moves the story forward by setting up a potential confrontation between the Basterds and the Nazis at the film premiere.

            Originality: 8

            The level of originality in this scene is relatively high. The use of deceptive identities and the tension-filled interactions between the characters add a fresh approach to the familiar theme of espionage. The authenticity of the characters' actions and dialogue contributes to the originality of the scene.


            Character Development

            Characters: 9

            The characters in the scene, particularly Lt. Hicox and Major Hellstrom, are well-developed and engaging. Their interactions and dialogue reveal their motivations and personalities.

            Character Changes: 6

            There is minimal character change in this scene. Lt. Hicox successfully maintains his cover, while Major Hellstrom remains suspicious but ultimately buys into the deception.

            Internal Goal: 8

            The protagonist's internal goal in this scene is to maintain his cover and convince Major Hellstrom that he is who he claims to be. This reflects his need to successfully complete his mission and his fear of being discovered as an imposter.

            External Goal: 7

            The protagonist's external goal in this scene is to blend in and gather information without raising suspicion. This reflects the immediate challenge he faces of navigating the social dynamics and interactions in the room without giving himself away as an imposter.


            Scene Elements

            Conflict Level: 7

            The scene has a moderate level of conflict, primarily between Lt. Hicox and Major Hellstrom. The tension arises from the Basterds' need to convince Hellstrom of their authenticity without revealing their true intentions.

            Opposition: 7

            The opposition in this scene is relatively strong, as the protagonist is faced with the challenge of convincing Major Hellstrom of his authenticity while maintaining his cover. The audience is unsure of how the interaction will unfold, adding to the tension and unpredictability of the scene.

            High Stakes: 8

            The stakes are high in this scene as Lt. Hicox and the Basterds risk exposure and capture by the Gestapo. The success of their deception is crucial for their mission to succeed.

            Story Forward: 8

            The scene moves the story forward by establishing the Basterds' infiltration and setting up the potential confrontation at the film premiere. It also highlights the tension and danger of their mission.

            Unpredictability: 7

            This scene is somewhat unpredictable because the audience is unsure of how Major Hellstrom will react to the protagonist's explanations and whether or not he will be discovered as an imposter.

            Philosophical Conflict: 9

            There is a philosophical conflict evident in this scene between truth and deception. The protagonist is trying to maintain a facade and convince Major Hellstrom of his authenticity, while Major Hellstrom is skeptical and questioning the protagonist's origins.


            Audience Engagement

            Emotional Impact: 6

            The scene elicits a moderate emotional impact, mainly through its suspense and humor. It doesn't have any particularly emotional or dramatic moments.

            Dialogue: 9

            The dialogue in the scene is sharp, witty, and well-written. It effectively conveys the tension, humor, and deception at play.

            Engagement: 9

            This scene is engaging because of the sharp and witty dialogue, the tension-filled interactions between the characters, and the use of dramatic irony. It keeps the audience interested and invested in the outcome of the scene.

            Pacing: 8

            The pacing of the scene contributes to its effectiveness by maintaining a steady rhythm that keeps the audience engaged. The tension builds gradually through the dialogue and interactions, creating a sense of anticipation.


            Technical Aspect

            Formatting: 6

            The formatting of this scene generally follows the expected format for its genre, but there are some minor deviations. For example, the use of parentheses within dialogues and the lack of character names before their dialogue.

            Structure: 7

            The structure of this scene follows the expected format for its genre. It introduces the setting, establishes the conflict, and progresses the narrative through interactions and dialogue between the characters.


            Critique Overall, this scene is well-written and engaging. The dialogue flows smoothly and the characters' personalities are well-defined. Here are a few suggestions for improvement:

            1. Pacing: Consider tightening up the dialogue and eliminating any unnecessary repetition or back-and-forth banter between characters. This will help maintain a fast-paced and energetic tone.

            2. Clearer character introductions: When Major Hellstrom enters the room, it would be useful to have a brief description or introduction to clarify who he is. Additionally, it would be helpful to introduce Bridget von Hammersmark earlier in the scene, so readers understand her presence and importance.

            3. Show, don't tell: Instead of characters directly stating their origin or backstory, try finding ways to reveal this information through actions, reactions, or more subtle dialogue. This will make the scene more dynamic and engaging.

            4. Visual cues: Consider adding more descriptive details to set the scene and give the reader a clear visual of the setting and characters' actions. This will enhance the reader's immersion in the scene.

            5. Conflict and tension: While the scene is entertaining, consider adding more conflict or tension to raise the stakes. This could be achieved through deeper emotional moments, conflicting objectives between characters, or unexpected twists in the conversation.

            By addressing these areas, the scene can become even more captivating and memorable.
            Suggestions Overall, the scene is filled with dialogue and banter between the characters. However, there are a few suggestions to improve the scene:

            1. Clarify character actions: Throughout the scene, it would be beneficial to include more physical actions or gestures for the characters to perform. This will help bring the scene to life and make it more visually interesting.

            2. Reveal the unknown German earlier: Instead of waiting until the Germans move aside to reveal Major Dieter Hellstrom, consider introducing him in a more dramatic or surprising way earlier in the scene. This will create a sense of mystery and anticipation.

            3. Develop tension: Increase tension between Major Hellstrom and Lt. Hicox by adding some verbal sparring or confrontational moments. This will make their interaction more engaging and create a sense of conflict.

            4. Add subtext: Introduce some subtext or hidden motives for the characters. This can be done through subtle clues or hints in their dialogue, providing a deeper layer to their interactions.

            5. Show more reactions: Pay attention to the reactions and facial expressions of the characters during the dialogue. This can be used to convey their emotions, thoughts, or intentions without explicitly stating them in the dialogue.

            6. Enhance visual descriptions: Provide more visual descriptions of the surroundings, characters' appearances, or important props. This will help the reader visualize the scene and create a more vivid and immersive experience.

            7. Consider pacing: Consider the pacing of the dialogue and actions. Some moments may benefit from being slower or faster, depending on the desired effect. Varying the pace will add rhythm and keep the audience engaged.

            Remember, these are just suggestions, and it's ultimately up to the screenwriter to decide what works best for their script. Keep in mind the tone, style, and overall narrative of the story to make the scene cohesive with the rest of the script.



            Scene 28 -  A Friendly Game
            Lt. Hicox begins to refuse when Bridget (feeling she knows better)
            interrupts him:

            BRIDGET
            Okay, one game.

            MAJOR HELLSTROM
            Wunderbar.

            The major borrows five cards from the other table and lays
            them out in front of Bridget and the officers.

            MAJOR HELLSTROM
            So the object of the game is to write
            the name of a famous person on your card. Real
            or fictitious, doesn’t matter. For instance,
            you could write Confucius or
            Fu Manchu.
            (He SNAPS his fingers.)
            Eric! More pens.
            (back to the players)
            And they must be famous. No Aunt Ingas. When
            you finish writing, put the card face down on
            the table and move it to the person to your
            left. The person to your right will move their
            card in
            front of you. You pick up the card without
            looking at it, lick the back, and stick it on
            your forehead, like so.

            He demonstrates.
            [102]



            MAJOR HELLSTROM
            (con’t)
            And in ten yes or no questions, you must guess
            who you are . . .

            As Maj. Hellstrom finishes explaining the finer points of the
            game, a CAMERA PANS OFF HIM and BEGINS SLOWLY ZOOMING INTO
            STIGLITZ. The major’s dialogue begins to FADE AWAY.

            Until we’re in a SPAGHETTI WESTERN FLASHBACK. Which is RED-FILTERED
            FOOTAGE of Hugo being savagely WHIPPED by somebody wearing a
            GESTAPO UNIFORM, SUPERIMPOSED over his CLOSEUP.

            The flashback disappears. It’s driving Stiglitz crazy, being
            this close to a Gestapo uniform and not plunging a knife into
            it.

            The major’s voice comes back on the soundtrack.

            MAJOR HELLSTROM
            . . . So let’s give it a try, shall we?
            Everybody write your names.

            The five players write their names . . .

            Then move their cards to the left . . .

            Everybody sticks their cards on their forehead . . .

            MAJOR BRIDGET WILHELM ARCHIE HUGO
            HELLSTROM VON HAMMERSMARK WICKI HICOX STIGLITZ
            is is is is is
            KING G.W. BULLDOG BRIGITTE MARCO
            KONG PABST DRUMMOND HELM POLO

            MAJ. KING KONG
            I’ll start, give you the idea.
            Am I German?

            They laugh.

            BRIDGET
            No.

            MAJ. KING KONG
            Am I an American?

            They laugh—but then Wicki says:

            WICKI
            Wait a minute, he goes to—
            [103]



            BRIDGET
            Don’t be ridiculous. Obviously he wasn’t born
            in America.

            MAJ. KING KONG
            So . . . I visited America, aye?

            The table says, “Yes.”

            MAJ. KING KONG
            Was this visit . . . fortuitous?

            WICKI
            Not for you.

            MAJ. KING KONG
            . . . Hummm. My native land, is it what one
            would call exotic?

            The table confers and decides, yes, it is exotic.

            MAJ. KING KONG
            Hummm. That could be either a reference to the
            jungle or the Orient. I’m going to let my first
            instinct take over and ask, am I from the
            jungle?

            The table says, “Yes, you are.”

            MAJ. KING KONG
            Now gentlemen, around this time you could ask
            whether you’re real or fictitious.
            I, however, think that’s too easy, so I won’t
            ask that, yet. Okay, my native land is the
            jungle. I visited America, but my visit was not
            fortuitous to me, but the implication is that
            it was to somebody else. When I went from the
            jungle to America, . . . did I go by boat?

            “Yes.”

            MAJ. KING KONG
            Did I go against my will?

            “Yes.”

            MAJ. KING KONG
            On this boat ride . . . Was I in chains?

            “Yes.”
            [104]



            MAJ. KING KONG
            When I arrived in America . . . was I displayed
            in chains?

            “Yes.”

            MAJ. KING KONG
            Am I the story of the Negro in America?

            The table says, “No.”

            MAJ. KING KONG
            Well, then, I must be King Kong.

            He throws the card on the table.

            They applaud him.

            MAJOR HELLSTROM
            Now since I answered correctly, you all need to
            finish your drinks.

            The three counterfeit Nazis knock back their whiskeys.

            MAJOR HELLSTROM
            Now, who’s next?

            LT. HICOX
            Major, I don’t mean to be rude. But the four of
            us are very good friends. And the four of us
            haven’t seen each other in quite a while. So .
            . .
            Major, I’m afraid, you are intruding.

            MAJOR HELLSTROM
            I beg to differ, Captain. It’s only if the
            fräulein considers my presence an
            intrusion that I become an intruder.
            How about it, Fräulein? Am I intruding?

            BRIDGET
            Of course not, Major.

            MAJOR HELLSTROM
            I didn’t think so. It’s simply the young
            captain is immune to my charms.

            The table’s not sure what to do. Is this a confrontation?
            Then the major laughs.

            MAJOR HELLSTROM
            I’m just joking. Of course, I’m intruding.
            [105]
            Genres: ["War","Thriller"]

            Summary Lt. Hicox and the Basterds play a game with Major Hellstrom to establish trust and camaraderie.
            Strengths "Sharp dialogue, tension-building through the game, and character development."
            Weaknesses "Limited emotional depth and minimal character change."

            Ratings
            Overall

            Overall: 8

            The scene effectively creates suspense and humor through the game while advancing the plot and developing the characters.


            Story Content

            Concept: 8

            The concept of using a game to establish trust and reveal hidden loyalties is unique and engaging.

            Plot: 8

            The plot advances as Lt. Hicox and the Basterds engage in the game, revealing tensions and creating a turning point as Major Hellstrom invites them to join the Germans' game.

            Originality: 6

            The level of originality in this scene is moderate. While the concept of characters playing a game to distract an antagonist is not entirely unique, the execution and the specific dynamics between the characters add freshness to the scene. The authenticity of the characters' actions and dialogue adds to the originality.


            Character Development

            Characters: 7

            The characters are well-defined and their interactions in the game showcase their personalities and hidden agendas.

            Character Changes: 5

            There is minimal character change in this scene as it focuses more on character interactions and establishing relationships.

            Internal Goal: 8

            The protagonist's internal goal in this scene is to maintain a facade and not attract suspicion. Lt. Hicox wants to avoid any confrontation or attention that may jeopardize his mission or the safety of his comrades. His deeper need is to successfully complete his mission and make a positive impact on the war effort.

            External Goal: 9

            The protagonist's external goal in this scene is to play a game and distract the Major from suspecting their true motives. This goal reflects the immediate circumstances of the characters being undercover and needing to maintain their cover at all costs.


            Scene Elements

            Conflict Level: 6

            There is a low level of conflict in this scene as the characters navigate the game and establish their trust.

            Opposition: 6

            The opposition in this scene is moderate. While there is not a significant obstacle or intense opposition that the audience doesn't know how it will go, there is still a level of conflict and tension between Lt. Hicox and Major Hellstrom that keeps the audience engaged.

            High Stakes: 7

            The stakes are moderately high as the characters navigate the game and reveal their loyalties.

            Story Forward: 8

            The scene moves the story forward by introducing Major Hellstrom and deepening the Basterds' mission.

            Unpredictability: 7

            This scene is unpredictable because the game of guessing famous names adds a layer of unpredictability to the dialogue and character interactions. The audience is not certain how each character will play the game or what they will reveal about themselves.

            Philosophical Conflict: 7

            There is a philosophical conflict evident in this scene between Lt. Hicox, who wants to avoid a confrontation with the Major, and Major Hellstrom, who enjoys testing and provoking the undercover soldiers. This conflict challenges Lt. Hicox's belief in the necessity of maintaining composure and keeping his true intentions hidden.


            Audience Engagement

            Emotional Impact: 6

            The scene has a moderate emotional impact as the tension and humor create engagement.

            Dialogue: 8

            The dialogue is sharp, witty, and plays a crucial role in the game and the interactions between the characters.

            Engagement: 9

            This scene is engaging because it effectively balances tension and humor, keeping the audience interested in the characters and their predicament. The game-playing dynamic adds a layer of suspense while also providing moments of levity.

            Pacing: 8

            The pacing of the scene is effective in building tension and maintaining the audience's engagement. The gradual zooming in on Stiglitz during the game adds a visual dynamic to the scene and creates a pause in the dialogue, enhancing the pacing.


            Technical Aspect

            Formatting: 8

            The formatting of this scene follows the expected format for its genre, with clear paragraph breaks, character names centered, and dialogue properly formatted. The actions and descriptions are organized and easy to follow.

            Structure: 7

            The structure of this scene follows the expected format for its genre, with clear character introductions, dialogue exchanges, and a clear progression of events. The scene effectively builds tension and advances the story.


            Critique Overall, the scene is well-written and effectively conveys the dynamics between the characters. The dialogue flows smoothly and each character has their distinct voice. However, there are a few areas for improvement:

            1. Clarity: There are some moments where the actions and dialogue could be clearer. For example, it is not immediately clear that Major Hellstrom is borrowing cards from another table. It would be helpful to have a clearer description or stage direction to indicate this.

            2. Flashback: The sudden transition to a spaghetti western flashback feels out of place and disrupts the flow of the scene. While the intention might be to show Stiglitz's internal thoughts and emotions, it could be better integrated into the scene without interrupting the dialogue.

            3. Pacing: The scene may benefit from some tightening to maintain a better pace. Some parts, like the discussion about the jungle and boat ride, could be condensed or trimmed down to keep the momentum of the game going.

            4. Visuals: As a screenwriting expert, it's important to remember that the visual aspect of the scene is crucial. While the dialogue is well-written, there could be more attention given to the visual elements, such as character reactions, gestures, or specific shots that help enhance the overall scene.

            Overall, the scene has potential but could be improved with clearer descriptions, more seamless transitions between flashback and present, tighter pacing, and heightened attention to visuals.
            Suggestions Here are some suggestions to improve the scene:

            1. Clarify the dialogue: There are a few instances where the dialogue could be clearer. For example, when Major Hellstrom is explaining the game, it could be more explicit that the players are writing famous names on their cards. Additionally, the line "Wunderbar" from Bridget could be expanded upon to provide more context.

            2. Transition into the flashback: The transition from Major Hellstrom's dialogue to the flashback could be smoother. Consider adding a sentence or two to introduce the transition and highlight Stiglitz's reaction to the Gestapo uniform.

            3. Sharpen the flashback sequence: The flashback sequence could benefit from more vivid and descriptive language. Instead of simply stating that Stiglitz is being whipped, provide more sensory details and emotional impact to fully immerse the reader in the scene.

            4. Maintain the tone: While it's important to convey Stiglitz's internal struggle, be mindful of the overall tone of the scene. Ensure that the flashback does not overshadow the lighter, more comedic tone of the card game.

            5. Revise the dialogue about King Kong: The dialogue during the game could be made more engaging and comedic. Consider heightening the banter between the characters and adding more humorous options for Maj. King Kong's guess.

            6. Strengthen Lt. Hicox's objections: Lt. Hicox's objection to Major Hellstrom's presence could be made more forceful and his reasoning clearer. Consider adding stronger language and emphasizing the friendship and rarity of their reunion.

            7. Provide clearer character reactions: Throughout the scene, you could enhance the reactions and facial expressions of the characters to highlight the tension and dynamics of the situation.

            8. Streamline the resolution: The resolution of the scene could be streamlined for a more impactful ending. Consider eliminating unnecessary dialogue and focusing on the main conflict between Lt. Hicox and Major Hellstrom.

            Remember, these suggestions are subjective, and it's up to you as the writer to decide how to best implement them into the scene.



            Scene 29 -  The Betrayal
            MAJOR HELLSTROM
            Allow me to refill your glasses, gentlemen, and
            I will bid you and the fräulein adieu.
            (leaning in)
            Eric has a bottle of thirty-three-year-old
            single-malt scotch whiskey from the Scottish
            highlands. What do you say, gentlemen?

            LT. HICOX
            You’re most gracious, sir.

            MAJOR HELLSTROM
            Eric, the thirty-three and new glasses! You
            don’t want to contaminate the thirty-three with
            the swill you were drinking.

            ERIC
            How many glasses?

            LT. HICOX
            Five glasses.

            MAJOR HELLSTROM
            Not me. I like scotch, scotch doesn’t like me.

            BRIDGET
            Nor I. I’ll stay with bubbly.

            Lt. Hicox holds up three fingers (pinky to middle finger) to Eric,
            the owner.

            LT. HICOX
            Three glasses.

            Eric brings the three glasses and the old bottle, pouring for
            the three soldiers.

            Major Hellstrom lifts up his beer stein and toasts:

            MAJOR HELLSTROM
            To a thousand-year Reich!

            They all mutter, “a thousand-year reich” and clink glasses.

            The Gestapo major puts down his beer stein, and then WE HEAR a
            CLICK under the table.

            MAJOR HELLSTROM
            Did you hear that? That’s the sound of
            my WALTER pointed right at your testicles.
            [106]



            LT. HICOX
            Why do you have a Luger pointed at my
            testicles?

            MAJOR HELLSTROM
            Because you’ve just given yourself
            away, captain. You’re no more German than
            scotch.

            LT. HICOX
            Well, Major—

            BRIDGET
            —Major—

            MAJOR HELLSTROM
            —Shut up, slut.
            (to Hicox)
            You were saying?

            LT. HICOX
            I was saying that makes two of us. I’ve had a
            gun pointed at your balls since you sat down.

            SGT. STIGLITZ
            That makes three of us.

            UNDER THE TABLE

            We see all three guns pointed at the appropriate crotches, as well
            as Bridget’s legs, right besides the Nazi major’s. Her pretty
            gams are sure to be chewed up in the possible crossfire.

            SGT. STIGLITZ
            And at this range, I’m a real
            Fredrick Zoller.

            MAJOR HELLSTROM
            Hummm . . . Looks like we have a bit
            of a sticky situation here.

            LT. HICOX
            What’s going to happen, Major, is you’re going
            to stand up and walk out that
            door with us.

            MAJOR HELLSTROM
            No, no, no, no, no, no, I don’t think so. I’m
            afraid you and I both know, no matter what
            happens to anybody else in this room, the two of
            us aren’t going anywhere.
            [107]



            MAJOR HELLSTROM
            (pointing at the table
            behind him)
            Too bad about Sgt. Wilhelm and his friends.
            If any of you expect to live, you’ll have to shoot
            them too.
            (pause)
            Looks like little Max is going to grow up an
            orphan. How sad.

            BRIDGET
            Then, Major, I implore you. For the
            sake of those German troops, will
            you please leave with us?

            MAJOR HELLSTROM
            Oh, Bridget, your concern for German troops
            gets me . . .
            (pointing at
            his heart)
            . . . right here. You mean for the sake of your
            whore legs, don’t you? You can’t afford to get
            any bullet holes in them. You’re not finished
            spreading them for all the Hollywood Jews.

            Lt. Hicox picks up his thirty-three-year-old single-malt
            scotch and says:

            LT. HICOX
            (ENGLISH)
            Well, if this is it, old boy, I hope
            you don’t mind if I go out speaking
            the king’s?

            MAJOR HELLSTROM
            (ENGLISH)
            By all means, Captain.

            The English film critic commando picks up the thirty-three
            the Nazi major bought him and says:

            LT. HICOX
            There’s a special rung in hell reserved for
            people who waste good scotch.
            And seeing as I might be rapping on
            the door momentarily . . .

            He downs the stuff.

            LT. HICOX
            (to the Nazi
            major)
            I must say, damn good stuff, sir.
            [108]



            He puts the glass down.

            LT. HICOX
            Now about this pickle we find
            ourselves in. It would appear there’s only one
            thing left for you to do.

            MAJOR HELLSTROM
            (ENGLISH)
            And what would that be?

            LT. HICOX
            Stiglitz.

            STIGLITZ
            Say, “auf Widersehen” to your balls!

            STIGLITZ
            FIRES into HELLSTROM’S BALLS . . .

            As does HICOX, HITTING not only Hellstrom, but BRIDGET as
            well.

            HELLSTROM
            FIRES into HICOX’s BALLS and KNEECAPS.

            STIGLITZ
            then JUMPS over the table and begins STABBING HELLSTROM with the
            DAGGER.

            HICOX FALLS to the floor . . . DEAD.

            BRIDGET FALLS to the floor . . . SHOT.

            WICKI
            brings his weapon out from underneath the table and BEGINS
            FIRING across at the GERMANS at the table, who, unaware, were still
            PLAYING THE GAME.

            WINNETOU
            is SHOT IN THE BACK, before he even knows what is happening.

            EDGAR WALLACE is SHOT by WICKI.

            SGT. POLA NEGRI
            FALLS to the floor in the confusion.
            Genres: ["War","Action","Thriller"]

            Summary Major Hellstrom reveals his knowledge of Lt. Hicox and the Basterds' true identities. A standoff ensues, resulting in a bloody shootout.
            Strengths "Intense tension, surprising twist, strong performances"
            Weaknesses "Multiple character deaths, graphic violence"

            Ratings
            Overall

            Overall: 9

            The scene is full of suspense and keeps the audience on the edge of their seats with its surprising twist


            Story Content

            Concept: 8

            The concept of a double-cross and a high-stakes negotiation adds depth to the scene

            Plot: 9

            The plot takes a major turn with the revelation of Major Hellstrom's knowledge and the ensuing standoff

            Originality: 6

            The scene has a moderate level of originality. While it follows some familiar tropes and situations of war films, it introduces fresh elements through the dialogue and the unexpected turn of events. The authenticity of the characters' actions and dialogue adds to the originality.


            Character Development

            Characters: 9

            The characters' actions and dialogue contribute to the tension and reveal their true motivations

            Character Changes: 7

            The characters' true identities and allegiances are revealed, leading to their demise

            Internal Goal: 7

            The protagonist's internal goal in this scene is to maintain a facade of loyalty to the Germans while secretly planning an attack. This reflects their deeper need for survival and their desire to contribute to the downfall of the enemy.

            External Goal: 9

            The protagonist's external goal is to successfully execute their plan to eliminate the Gestapo major and his men. This reflects the immediate circumstance and challenge of the dangerous situation they find themselves in.


            Scene Elements

            Conflict Level: 10

            The conflict between Lt. Hicox, the Basterds, and Major Hellstrom reaches its peak, resulting in a violent confrontation

            Opposition: 9

            The opposition in this scene is strong, as the characters face a life-threatening situation. The audience is unsure of the outcome and the characters must overcome significant obstacles.

            High Stakes: 10

            The characters' lives are at risk, and the outcome of the standoff could have significant consequences

            Story Forward: 8

            The scene propels the story forward by introducing a major obstacle and raising the stakes

            Unpredictability: 9

            This scene is unpredictable because it takes unexpected turns and surprises the audience with the characters' actions and decisions. The introduction of multiple guns and the crossfire adds a level of uncertainty.

            Philosophical Conflict: 8

            The philosophical conflict evident in this scene is the clash between the protagonist's allegiance to their country and their moral objection to the actions of their enemies. It challenges the protagonist's beliefs and values as they are forced to make difficult decisions to protect themselves.


            Audience Engagement

            Emotional Impact: 9

            The scene evokes intense emotions through its suspenseful atmosphere and shocking violence

            Dialogue: 8

            The dialogue effectively conveys the characters' intentions and adds to the suspense

            Engagement: 9

            This scene is engaging because of its intense and suspenseful atmosphere, the witty and sharp dialogue, and the unexpected twists and turns of the plot. It keeps the audience on the edge of their seats.

            Pacing: 9

            The pacing of the scene is fast and intense, contributing to its effectiveness in creating suspense and maintaining the audience's attention. The rhythm of the dialogue and the action keeps the scene moving forward at a brisk pace.


            Technical Aspect

            Formatting: 8

            The formatting of this scene follows the expected format for its genre. The scene headers, dialogue, and action descriptions are clear and well-organized.

            Structure: 8

            The structure of this scene follows the expected format for its genre. It establishes the setting, introduces the characters and their goals, and builds tension through dialogue and action.


            Critique The scene is well-written and engaging, with tension building up steadily throughout. The dialogue is sharp and effective in conveying the characters' motivations and intentions. The use of multiple languages adds an interesting layer to the scene.

            However, there are a few areas that could be improved upon.

            Firstly, there are some minor issues with clarity and conciseness in the dialogue. For example, the exchange between Lt. Hicox and Major Hellstrom could be trimmed to make it more impactful. Similarly, some of the lines could be further refined to better reflect the characters' personalities and motivations.

            Additionally, the stage directions could be more detailed and specific, especially during the action sequences. This would help visualize the scene more effectively and guide the reader or viewer in understanding the sequence of events.

            Furthermore, there is a lack of emotional depth or subtext in some of the interactions. Adding an element of vulnerability or hidden agendas to the characters could enhance the scene and make it more compelling.

            Overall, the scene has potential and effectively builds tension and suspense. With some minor revisions to dialogue and stage directions, as well as adding depth to the characters, it could be even stronger.
            Suggestions Here are some suggestions to improve the scene:

            1. Clarify the characters' intentions: It's not immediately clear why Major Hellstrom wants to refill their glasses and why Lt. Hicox holds up three fingers. Adding some dialogue or action to clarify their intentions would help.

            2. Smooth out the dialogue: Some of the dialogue feels a bit stilted or forced. Make sure the characters speak in a natural, conversational tone. Consider rewriting some lines to make them sound more authentic.

            3. Show character reactions: Right after Major Hellstrom reveals his gun, there is no description of how the characters react. Adding some brief physical reactions or expressions would help convey the tension and fear in the scene.

            4. Establish the geography: It's important to clearly establish the physical positions of the characters in the scene. Where are they sitting? How do they move? Adding more specific descriptions of their actions and positions would help the reader visualize the scene more easily.

            5. Pace the action: The climax of the scene, with the gunshots and chaos, happens very suddenly. Consider pacing the action a bit more, building up the tension gradually and then releasing it with the gunfire.

            6. Clarify character relationships: It's not clear how Lt. Hicox and the others are able to get their guns under the table without Major Hellstrom noticing. Clarifying the logistics of the scene and how the characters are positioned can help make this more believable.

            7. Consider the tone: Depending on the overall tone of the movie, you may want to adjust the amount of violence or the language used. Make sure the violence serves a purpose in advancing the story or developing the characters.

            8. Enhance visual descriptions: Descriptions of the setting and characters' appearance can help create a more vivid and engaging scene. Paint a picture with words to immerse the reader in the scene.

            Remember that these are just suggestions and you should consider your specific vision for the scene and the overall story when making changes.



            Scene 30 -  Standoff
            FEMALE SGT. BEETHOVEN and STIGLITZ bring their guns toward each
            other and FIRE. They BOTH TAKE and GIVE each other so many BULLETS
            it’s almost romantic when they collapse DEAD on the
            floor.
            [109]



            WICKI and MATA HARI
            both ON THEIR FEET, FIRING WILDLY at each other. MATA HARI is
            HIT THREE TIMES. WICKI is HIT ONCE.
            SGT. POLA NEGRI
            comes off the floor with a SUBMACHINE GUN and SPRAYS the
            whole other side of the room, WIPING OUT WICKI, ERIC, MATA HARI,
            and THE BARMAID.
            The SHOOTING STOPS . . . THE SMOKE caused by the gunfire . . .
            starts to DISSIPATE . . . The only one in the room left alive is
            the
            young German sergeant with the machine gun.
            WE HEAR the feet of the soldiers outside reach the basement
            entrance.
            The door opens . . .
            The German sergeant sends FIFTY BULLETS in the door’s
            direction . . .
            No one goes through it.
            What we have here is a rabbit-hole-like situation. No one
            inside is getting out. No one outside is getting in.
            The young German sergeant YELLS in ENGLISH to the outside:

            GERMAN SERGEANT
            You outside! Who are you? British, American,
            what?

            Aldo’s voice YELLS down the hole:

            ALDO’S VOICE (OS)
            We’re Americans! What are you?

            GERMAN SERGEANT
            I’m a German, you idiot!

            ALDO’S VOICE (OS)
            You speak English pretty good for a German!

            GERMAN SERGEANT
            I agree! So let’s talk!

            ALDO’S VOICE (OS)
            Okay, talk!

            GERMAN SERGEANT
            I’m a father! My baby was born today
            in Frankfurt! Five hours ago! His name is Max!
            We were in here drinking and celebrating!
            They’re the ones that
            came in shooting and killing!
            It’s not my fault!
            [110]



            ALDO’S VOICE (OS)
            Okay, okay, it wasn’t your fault!
            What’s your name, soldier?

            GERMAN SERGEANT
            Wilhelm!

            ALDO’S VOICE (OS)
            That’s the same name as one of the
            guys you just killed!

            WILHELM
            They attacked us!

            ALDO’S VOICE (OS)
            Okay, Wilhelm . . . is anybody alive
            on our side?

            WILHELM
            No!

            We hear a VOICE OFFSCREEN yell out:

            BRIDGET’S VOICE (OS)
            I’m alive!

            Wilhelm spins in the direction of the voice.

            On the floor, with a bullet in her BLOODY LEG, lies the still-alive
            Bridget von Hammersmark.

            The German sergeant points the muzzle of the machine gun at
            the German celebrity, with hate in his eyes.

            ALDO’S VOICE (OS)
            Who’s that?

            WILHELM
            (to BRIDGET,
            low)
            Make a sound, whore, and I spit!

            Meaning the muzzle.

            ALDO’S VOICE (OS)
            Wilhelm, who is that?

            WILHELM
            Is the girl on your side?

            Pause.

            ALDO’S VOICE (OS)
            Which girl?
            [111]



            WILHELM
            Who do you think—von Hammersmark!

            ALDO’S VOICE (OS)
            Yeah, she’s ours!

            WILHELM
            (to Bridget,
            LOW, in GERMAN)
            I thought so. So you run with the Americans
            now, huh? Now times are
            bad?

            ALDO’S VOICE (OS)
            Is she okay?

            WILHELM
            (to Bridget,
            LOW, in GERMAN)
            You despicable traitor.
            (to Aldo)
            She’s been shot, but she’s alive.
            (to Bridget,
            LOW, in GERMAN)
            For now.

            We hear the Basterds curse their luck offscreen.

            ALDO’S VOICE (OS)
            Okay, Wilhelm, what’d ya say we
            make a deal?

            WILHELM
            What’s your name?

            ALDO’S VOICE (OS)
            Aldo. Wilhelm, can I call ya Willi?

            WILHELM
            Yes.

            ALDO’S VOICE (OS)
            So, Willi, you know we could lob three or four
            or five or six grenades down there and your
            little war story ends here. But good fer you,
            bad fer her.
            You die, she dies. So what say we
            make a swap?

            WILLI
            Keep talking!
            [112]



            ALDO’S VOICE (OS)
            Okay, Willi, here’s my deal! You let
            me and one of my men come down to
            take the girl away! And we take the
            girl and leave! That simple, Willi!
            You go your way, we go ours! And little Max
            gets to grow up playing catch with his daddy!
            So what ‘ya say, Willi, we got a deal?

            Willi thinks . . .

            Bridget watches Willi think . . .

            WILLI
            Aldo?

            ALDO’S VOICE (OS)
            I’m here, Willi!

            WILLI
            I want to trust you . . . But how can I?

            ALDO’S VOICE (OS)
            What choice ya got?

            WILLI
            I could kill the girl!
            Genres: ["action","drama"]

            Summary A bloody shootout ensues as Lt. Hicox and the Basterds play a game with Major Hellstrom to establish trust and camaraderie. Major Hellstrom reveals his knowledge of Lt. Hicox and the Basterds' true identities, resulting in a standoff.
            Strengths
            • intense action
            • suspenseful atmosphere
            • strong character dynamics
            Weaknesses
            • limited physical descriptions
            • lack of backstory

            Ratings
            Overall

            Overall: 9

            The scene is very intense and suspenseful, with a high level of conflict and emotional impact. The unexpected character motivations add depth and intrigue to the scene.


            Story Content

            Concept: 8

            The concept of a standoff between Lt. Hicox and the Basterds and Major Hellstrom is engaging and keeps the audience on the edge of their seats.

            Plot: 9

            The plot of the scene revolves around establishing trust, revealing true identities, and negotiating for survival, which is executed effectively.

            Originality: 8

            This scene showcases a unique approach to a shootout scenario by introducing dialogue and negotiation amidst the chaos. The characters' actions and dialogue feel authentic and add a fresh perspective to the situation.


            Character Development

            Characters: 9

            The characters are well-developed and their actions and motivations are believable. The unexpected character changes, like Wilhelm revealing his baby was born and Bridget von Hammersmark being alive, create intrigue.

            Character Changes: 8

            The character of Wilhelm experiences a significant change as he contemplates whether to trust Aldo and make a deal to save Bridget. Aldo also showcases his cunning and negotiation skills.

            Internal Goal: 8

            The protagonist's internal goal in this scene is to survive and protect the girl, Bridget von Hammersmark. This reflects their deeper need for safety and their desire to fulfill their mission despite the challenging circumstances.

            External Goal: 8

            The protagonist's external goal in this scene is to negotiate with the young German sergeant, Willi, in order to save Bridget von Hammersmark. The goal reflects the immediate challenge of coming to a mutual agreement amidst the hostile situation.


            Scene Elements

            Conflict Level: 9

            The level of conflict in the scene is very high, with a shootout, a standoff, and treacherous negotiations taking place. The characters' lives and the safety of the German sergeant's baby are at stake.

            Opposition: 9

            The opposition in this scene is strong, as the characters face multiple challenges and conflicts, both external (the shootout) and internal (the negotiation and trust issues). The audience is uncertain about the outcomes and tensions are high.

            High Stakes: 9

            The stakes in the scene are very high, with the characters' lives and the safety of the German sergeant's baby hanging in the balance.

            Story Forward: 9

            The scene moves the story forward by further complicating the Basterds' mission and adding a new layer of danger. The revelation of Bridget being alive and the negotiation with Wilhelm change the dynamics of the plot.

            Unpredictability: 8

            This scene is unpredictable because it introduces unexpected elements, such as the negotiation between Aldo and Willi, and the survival of Bridget von Hammersmark. The audience does not know how the situation will resolve.

            Philosophical Conflict: 7

            There is a philosophical conflict evident in this scene between trust and self-preservation. The protagonist, Aldo, is trying to convince Willi to trust him and make a deal, while Willi is hesitant due to the lack of trust in the situation.


            Audience Engagement

            Emotional Impact: 9

            The scene elicits a strong emotional response from the audience, with the suspense, tension, and high stakes keeping them engaged.

            Dialogue: 8

            The dialogue is impactful, with each character trying to outsmart the other. The conversation between Aldo and Wilhelm is tense and filled with subtext.

            Engagement: 9

            This scene is engaging because it combines intense action and dialogue, creating a suspenseful and unpredictable atmosphere. The negotiation between the characters adds an extra layer of tension and interest.

            Pacing: 7

            The pacing of the scene contributes to its effectiveness by alternating between intense action sequences and moments of dialogue and negotiation. This creates a rhythm that keeps the audience engaged.


            Technical Aspect

            Formatting: 9

            The formatting of this scene follows the expected format for its genre, with proper use of sluglines, action lines, and dialogue.

            Structure: 8

            The structure of this scene follows the expected format for its genre, featuring clear action lines, dialogue, and scene direction.


            Critique As a screenwriting expert, I would critique this scene as follows:

            1. Lack of clarity: The scene is filled with chaotic action and multiple characters, making it difficult to follow what exactly is happening. There are also a lot of quick cuts and offscreen voices, which adds to the confusion.

            2. Overuse of violence: The excessive violence and gunplay in the scene may be off-putting to some viewers and can distract from the overall story. It's important to balance action with storytelling and character development.

            3. Weak dialogue: The dialogue feels forced and lacks depth. It mainly serves to move the plot forward and doesn't provide much insight into the characters or their motivations. It would benefit from more nuanced and meaningful exchanges.

            4. Lack of emotional impact: The deaths of the characters, which are meant to be dramatic and possibly even romantic, don't have a strong emotional impact due to the chaotic nature of the scene and lack of character development.

            5. Unrealistic plot development: The sudden negotiation between Aldo and Wilhelm, with the possibility of a swap, feels contrived and unrealistic given the chaotic circumstances and the fact that they are enemies. It is not clear why Wilhelm would even consider the offer.

            Overall, this scene could benefit from clearer writing, more concise action, and deeper character development to create a more engaging and emotionally resonant sequence.
            Suggestions Here are some suggestions to improve the scene:

            1. Make the action clearer: In the first paragraph, it is not clear who collapses dead on the floor. Specify which characters, specifically Female Sgt. Beethoven and Stiglitz, collapse.

            2. Develop the action: Add more details and descriptions to the shootout scenes to make them more engaging and visually appealing for the reader. Consider describing the movement, positioning, and reactions of the characters as they fire and get hit.

            3. Provide more context: Before the shootout begins, establish the location and surroundings of the characters. This will help the reader visualize the scene better and understand the stakes.

            4. Add tension: Increase the tension in the scene by adding more suspenseful moments, close calls, or unexpected twists. This will make the reader more invested in the outcome of the characters.

            5. Dialogue improvements: Make the dialogue more natural and impactful. Consider giving the characters distinct voices and personalities to make their conversation more engaging. Also, remove repetitive dialogue tags like "YELLS" or "OS," as it disrupts the flow of the conversation.

            6. Emotional moments: Explore the emotional impact of the scene by focusing on the characters' reactions to the violence and their personal connections. This will add depth to the scene and make it more memorable.

            7. Pacing: Consider the pacing of the scene. Break up the dialogue with action beats or reactions from the characters to create a dynamic rhythm in the scene.

            Overall, aim to make the scene more visually appealing, emotionally engaging, and suspenseful to captivate the reader's attention.



            Scene 31 -  Mexican Standoff and Veterinary Extraction
            ALDO’S VOICE (OS)
            Well, now, Willi, that’s true enough. But
            something you need to know, so
            you don’t get the wrong idea. Ain’t
            none of us give a fuck ‘bout that
            girl. But, admittedly, if you kill
            her, it would fuck up our plans. But you’ll be
            dead by then anyway, so
            what’d you care? And let’s not
            forget that little Katzenjammer
            Max, growin’ up without a pop. So in
            the spirit of gettin’ you home to
            him, we got a deal, Willi?

            WILLI
            Okay, Aldo. I’m going to trust you!
            Come down, no guns!

            Aldo and Hirschberg come down the stairs, showing open hands.

            Willi keeps his machine gun trained on them.

            Aldo, with his hands up, says:
            [113]



            ALDO
            Hey, Willi, what’s with the machine
            gun? I thought we had a deal.

            WILLI
            We do have a deal. Now get the girl
            and go.

            ALDO
            Not so fast, Willi. We only have a
            deal, we trust each other. A Mexican standoff
            ain’t trust.

            WILLI
            You need guns on me for it to be
            a Mexican standoff.

            ALDO
            You got guns on us, you decide to
            shoot, we’re dead. Up top, they got grenades,
            they drop ’em down here, you’re dead. That’s a
            Mexican
            standoff, and that wasn’t the deal.

            WILLI
            Just take that fuckin’ traitor and
            go! See? Now you’re down here—
            Now you get tricky—!

            ALDO
            —No tricks!—Ain’t nobody gittin’
            tricky, Willi! I swear to god, I’m
            too damn dumb to get tricky. But
            (meaning
            Hirschberg)
            him and I lived up to the deal. We
            came down without guns. Now it’s
            your turn. No trust, no deal.

            Willi pointing the gun at them . . . thinking . . .

            ALDO
            I know you’re scared. I’m scared,
            he’s scared, we’re all scared.
            So what’s it gonna be, Willi?
            Either we got a deal or you might
            as well just shoot us now.

            Willi decides . . .

            He puts the machine gun down on the bar.
            [114]



            WILLI
            Fine. Take that fucking traitor and
            get her out of my sight.
            ALDO
            Danke, Willi, danke. Okay, Hirschberg, you grab
            her shoulder—
            WHEN . . .
            From behind Aldo and Hirschberg, Bridget lifts up Major Hellstrom’s
            WALTER and EMPTIES the remaining bullets into
            Sgt. Willi, who FALLS to the floor, DEAD.
            Aldo and Hirschberg spin around, shocked.
            From the floor, the bloody, sweaty, and in excruciating pain
            (she’ll probably lose that leg} German movie star says to the
            two American soldiers she’s just meeting for the first time:

            BRIDGET
            He was an enemy soldier who knew who
            I was. He couldn’t live.

            INT—FRENCH HOUSE IN COUNTRY (BEDROOM)—NIGHT
            An OLD MAN lies asleep under the covers of his blankets, in his
            bed, in his bedroom . . .
            WHEN . . .

            . . . . OFF SCREEN the sound of a DOOR BEING KICKED OPEN . . .
            . . . . . The SOUND of what sounds like EIGHT DOGS BARKING . . .
            and the sound of FEET RUNNING TOWARD US . . .
            his bedroom door is THROWN OPEN, and Sgt. Donowitz RUSHES
            IN, grabbing the old man in his bed and putting a
            .45 automatic to his head.

            SGT. DONOWITZ
            (ENGLISH)
            Doctor? Doctor?

            OLD MAN
            (FRENCH)
            What? What’s happening?
            Donny SLAMS the .45 hard against the old man’s head, shocking,
            scaring, and bringing the old gent to attention.

            SGT. DONOWITZ
            (ENGLISH)
            Doctor? Are you a fucking doctor?
            He nods his head, yes.
            SGT. DONOWITZ
            Andiamo . . .
            [115]



            Donny YANKS/DRAGS the old man out of bed, in his almost
            comical nightshirt (which makes him cuter, thus the brutality
            against him hurts more) toward the door . . .

            INT—DOCTOR’S EXAMINING ROOM—NIGHT

            . . . Into a doctor’s examining room built into a French country
            house, with an examining table and medical instruments.

            However, it’s obviously the medical examining room
            of a veterinarian.

            Along the walls are different cages with eight BARKING
            dogs in them.

            The soldiers are putting the shot-in-the-leg, bleeding, and in
            excruciating pain Bridget on the examining table.

            Donny, still holding onto the Old Man, points in the girl’s
            direction . . .

            SGT. DONOWITZ
            (ENGLISH)
            She’s been shot. Shot. Bang, bang . . .
            (pointing at
            his leg)
            . . . in leg . . . understand?

            OLD MAN
            (FRENCH)
            No, no, no, I don’t speak English.

            Donny jams the barrel of his .45 into the thigh of the old man.

            SGT. DONOWITZ
            (ENGLISH)
            BANG, BANG—in the leg, understand!

            The old man nods his head, yes.

            OLD MAN
            (FRENCH)
            But I’m a veterinarian . . . animals . . .
            I take care of animals . . .

            Bridget screams from the table . . .

            BRIDGET
            (ENGLISH)
            He’s a fucking veterinarian, you imbecile!
            [116]



            SGT. DONOWITZ
            He’s still a doctor. If he can get
            a bullet out of a cow, he can get
            a bullet outta you.
            Genres: ["Action","War","Drama"]

            Summary Lt. Aldo and Hirschberg try to establish trust with Willi, resulting in a Mexican standoff. Bridget kills Willi, revealing her true allegiance. In another location, Sgt. Donowitz forcefully brings an old veterinarian to treat Bridget's gunshot wound.
            Strengths "Strong tension and suspense, shocking plot twist, unique use of a veterinarian"
            Weaknesses "Possibly excessive violence"

            Ratings
            Overall

            Overall: 9

            The scene is action-packed and tense, with a major plot twist and unexpected violence.


            Story Content

            Concept: 8

            The concept of a Mexican standoff adds tension and suspense to the scene, and the use of a veterinarian for medical treatment is unexpected and unique.

            Plot: 9

            The plot of the scene revolves around Lt. Aldo and Hirschberg's attempt to establish trust, which is shattered when Bridget kills Willi. The introduction of a veterinarian adds a new element to the plot.

            Originality: 8

            This scene demonstrates a level of originality through its intense dialogue, unpredictable twists, and the authenticity of the characters' actions and dialogue. It presents fresh approaches to familiar themes of trust, survival, and betrayal.


            Character Development

            Characters: 8

            The characters behave in line with their motivations and personalities. Bridget's true allegiance is revealed, adding complexity to her character.

            Character Changes: 7

            Bridget's true allegiance is revealed, leading to a significant change in the perception of her character.

            Internal Goal: 7

            The protagonist's internal goal in this scene is to ensure the safety of the girl and himself. This reflects their deeper desire to survive and protect their loved ones.

            External Goal: 8

            The protagonist's external goal is to convince Willi to trust them and to secure safe passage for the girl. It reflects the immediate challenge of navigating a dangerous situation and avoiding harm.


            Scene Elements

            Conflict Level: 9

            The conflict in the scene is high, with a Mexican standoff and a violent confrontation.

            Opposition: 7

            The opposition in this scene is strong as the protagonist faces mistrust, danger, and the threat of violence from Willi. The outcome is uncertain, keeping the audience engaged.

            High Stakes: 9

            The stakes are high as the characters' lives are at risk and their true allegiance is revealed.

            Story Forward: 9

            The scene moves the story forward by introducing a major plot twist and revealing important information about the characters.

            Unpredictability: 9

            This scene is unpredictable because of the unexpected twists and turns, such as Bridget killing Willi and the revelation of the veterinarian's profession. These unexpected events keep the audience on their toes.

            Philosophical Conflict: 6

            There is a philosophical conflict evident in this scene as the protagonist questions the concept of trust and the nature of deals. This challenges their beliefs and values regarding honesty and the reliability of others.


            Audience Engagement

            Emotional Impact: 8

            The shocking betrayal and violence in the scene evoke strong emotions from the audience.

            Dialogue: 7

            The dialogue is realistic and captures the tense atmosphere of the scene.

            Engagement: 8

            This scene is engaging because it presents a high-stakes situation and conflict between the characters. The dialogue and actions keep the audience invested in the outcome.

            Pacing: 8

            The pacing of the scene is effective in building tension and maintaining the audience's interest. It balances dialogue, action, and suspenseful moments.


            Technical Aspect

            Formatting: 9

            The formatting of this scene follows the expected format for its genre. It includes clear scene headings, action lines, character names, and dialogue in a properly formatted manner.

            Structure: 9

            The structure of this scene follows the expected format for its genre. It includes dialogue, scene directions, and character actions in a clear and concise manner.


            Critique Overall, this scene has good tension and conflict between the characters, which is essential in a dramatic scene. The dialogue feels authentic and helps to establish the dynamics between the characters.

            However, there are a few areas where this scene could be improved.

            1. Clarity: Some of the dialogue is a bit confusing and could benefit from clearer language. For example, the line "You need guns on me for it to be a Mexican standoff" could be stated more directly.

            2. Visual cues: There is a lack of visual cues and stage directions, which can make it difficult for the reader to visualize the scene. Adding more descriptions of the characters' movements and gestures would enhance the reader's understanding of the scene.

            3. Pacing: The sequence of events in the scene could be refined to create better pacing and tension. For example, the revelation of Bridget shooting Sgt. Willi feels sudden and could be foreshadowed or built up to have a greater impact.

            4. Character development: While there is conflict and tension between the characters, there is room for further exploration of their motivations and backgrounds. Adding more depth to the characters' interactions and dialogue can make the scene more engaging.

            Overall, this scene has potential but could benefit from clearer language, stronger visual cues, improved pacing, and more developed characterizations. With these adjustments, it could become a more compelling and impactful scene.
            Suggestions Overall, the scene is engaging and intense, but there are a few suggestions to improve it:

            1. Clarify the setting: In the beginning of the scene, it is not clear where the characters are located. Providing a brief description or mentioning the location can help the reader visualize the scene better.

            2. Tone down the use of profanity: While profanity can be used to emphasize the intensity of the scene, it may be wise to reduce the frequency of its usage. This can help maintain the scene's impact without distracting the reader.

            3. Enhance character emotions: To make the scene feel more emotionally charged, it would be helpful to show the characters' emotions through their actions, body language, and dialogue. This will allow the reader to empathize with the characters and heighten the tension.

            4. Add more visual details: Describing the characters' appearances, reactions, and surroundings can enhance the visual experience for the reader. It can also contribute to creating a more vivid and immersive cinematic experience.

            5. Revise the dialogue for clarity: Some of the dialogue exchanges could be rewritten for better clarity and flow. Ensure that the characters' intentions and emotions are conveyed effectively through their dialogue.

            By implementing these suggestions, the scene can become even more impactful and engaging for the audience.



            Scene 32 -  Betrayal and Bloodshed
            LT. ALDO
            Right now, we just need morphine.

            Donny yells at the old man:

            SGT. DONOWITZ
            Morphine! We need morphine!

            The old man tries to explain in French that he’s not a human doctor
            . . .

            Donny takes the .45 and SHOOTS one of the DOGS in the
            cages.

            Everybody jumps.

            Donny SCREAMS at the old man:

            SGT. DONOWITZ
            MORPHINE!

            BANG

            He SHOOTS another dog . . .

            SGT. DONOWITZ
            MORPHINE!

            The old man begs him to stop and goes to get the morphine.

            CUT TO

            The BODY of Gestapo Major DIETER HELLSTROM dead on the floor.

            INT—LA LOUISIANE—NIGHT

            We’re back in the basement tavern. Col. Hans Landa stands
            over the corpse. He moves over to the next corpse, and a smile
            breaks out on his face.

            He says in GERMAN SUBTITLED IN ENGLISH:

            COL. LANDA
            Ahhh, Hugo, you’ve moved up in the world, I
            see. Lieutenant. And with
            your record of insubordination.
            Truly remarkable.
            [117]



            A Nazi soldier named HERRMAN joins the S.S. officer.

            COL. LANDA
            And that one’s . . .
            (pointing at
            Wicki)
            . . . name is Wilhelm Wicki. He’s an Austrian-
            born Jew who immigrated
            to the United States when things
            began turning sour for the Israelites. They are
            the two German-born members of the Basterds.
            They’ve been known
            to don German uniforms to ambush squads.

            FLASH ON
            three Nazi soldiers walking toward a company of other German
            soldiers. The three soldiers’ back are to us. Dried, bloody bullet
            holes cover the backs of the three uniforms.

            The SERGEANT of the German company yells to the trio:

            SGT. GERMAN COMPANY
            What brings you all the way out here?

            The TRIO NOW DOWN the GERMAN COMPANY with their machine guns.

            BACK TO LANDA

            COL. LANDA
            But that doesn’t look like this.
            This is odd.

            Looking down he sees something . . .

            Bending down, he examines Fräulein von Hammersmark’s two
            pretty dress shoes lying on the floor.

            One shoe is covered in blood.

            The other, while blood-speckled, is fairly clean.

            Picking up the clean shoe and holding it in his hand.

            COL. LANDA
            It would appear somebody’s missing. Somebody
            fashionable.

            AN OFFSCREEN SOLDIER’S VOICE cries out:

            SOLDIERS VOICE (OS)
            Colonel, this one’s still alive!

            We follow Hans to the spot on the floor where Sgt. Willi lies. He’s
            shot in the chest, but it looks like Max’s daddy is still alive.
            [118]



            INT—EXAMINING ROOM—NIGHT

            Bridget on the examining table, post morphine shot.

            The other Basterds in the room watch Aldo interrogate the
            German lady.

            LT. ALDO
            Now ’fore we yank that slug outta ya, you need
            to answer a few questions.

            BRIDGET
            Few questions about what?

            LT. ALDO
            About I got three men dead back there, and why
            don’t you try tellin’ us what the fuck
            happened?

            BRIDGET
            The British officer blew his German
            act, and a Gestapo major saw it.

            LT. ALDO
            ’Fore we get into who shot John,
            Why did you invite my men to a
            rendezvous in a basement with a bunch
            of Nazis?

            BRIDGET
            I can see, since you didn’t see
            what happened inside, the Nazis
            being there must look odd.

            LT. ALDO
            Yeah, we gotta word for that kinda
            odd in English. It’s called
            suspicious.

            BRIDGET
            Don’t let your imagination get the better of
            you, Lieutenant. You met
            the sergeant, Willi. He had a baby tonight. His
            commanding officer gave
            him and his friends the night off to celebrate.
            The Germans being there
            was just a tragic coincidence.

            Aldo thinks for a moment . . .

            LT. ALDO
            Okay, I’ll buy that. He was either
            there with his men waiting for us,
            or he was there celebrating his
            son’s birthday. He wasn’t doin’ both.
            [119]



            LT. ALDO
            How did the shootin’ start?

            BRIDGET
            The English man gave himself away.

            LT. ALDO
            How did he do that?

            BRIDGET
            He ordered three glasses.

            She holds up three fingers, middle to pinky.

            BRIDGET
            He ordered three glasses.

            She holds up three fingers, thumb to middle.

            BRIDGET
            This is the German three. The other
            is odd. Germans would and did notice it.

            LT. ALDO
            Okay, let’s pretend there were no Germans, and
            everything went exactly
            the way it was supposed to. What would of been
            the next step?

            BRIDGET
            Tuxedoes. To get them into the
            premiere wearing military uniforms,
            with all the military there, would
            have been suicide. But going as
            members of the German film industry,
            they wear tuxedoes and blend in with everybody
            else. I arranged a tailor
            to fit three tuxedoes tonight.

            LT. ALDO
            How did you intend to get them into
            the premiere?

            BRIDGET
            Hand me my purse.

            They do. And she opens it and takes out three tickets to the
            film premiere.
            Genres: ["Action","War","Drama"]

            Summary Lt. Aldo and Hirschberg try to establish trust with Willi but end up in a Mexican standoff. Bridget reveals her true allegiance and kills Willi. Meanwhile, Sgt. Donowitz forcefully brings an old veterinarian to treat Bridget's gunshot wound.
            Strengths
            • Intense action
            • Unexpected betrayal
            • Strong emotional impact
            Weaknesses
            • Slightly repetitive dialogue

            Ratings
            Overall

            Overall: 9

            The scene is filled with intense action and suspense, and the unexpected betrayal adds a thrilling twist. The use of language and cultural differences adds depth to the story. The only drawback is the slightly confusing transition from the Mexican standoff to the scene with Sgt. Donowitz.


            Story Content

            Concept: 8

            The concept of trust and betrayal is strong in this scene, with both Lt. Aldo and Bridget being put to the test. The use of language cues and cultural differences adds an interesting layer to the story.

            Plot: 9

            The plot moves forward significantly in this scene, with the revelation of Bridget's allegiance and the introduction of a new conflict. The Mexican standoff adds tension and suspense, keeping the audience engaged.

            Originality: 7

            The level of originality in this scene is moderate. While the setting and characters reflect familiar elements of World War II films, the specific situations, dialogues, and the way the story unfolds offer a fresh and unique approach.


            Character Development

            Characters: 8

            The characters are well-developed and their actions reflect their personalities. Lt. Aldo and Bridget's loyalty and determination are showcased, and Sgt. Donowitz's forceful actions demonstrate his dedication to the mission.

            Character Changes: 8

            Lt. Aldo and Bridget both experience significant changes in this scene. Lt. Aldo's trust is shattered by Bridget's betrayal, and Bridget's true allegiance is revealed.

            Internal Goal: 8

            The protagonist's internal goal is to get answers about what happened and figure out the truth.

            External Goal: 9

            The protagonist's external goal is to interrogate the German lady and uncover the truth about the shooting and the plans for the premiere.


            Scene Elements

            Conflict Level: 9

            The level of conflict is high in this scene, with the Mexican standoff and the bloody shootout adding intense action and suspense. The reveal of Bridget's betrayal further escalates the conflict.

            Opposition: 7

            The opposition in this scene is relatively strong as the protagonist faces resistance from the German lady in revealing the truth.

            High Stakes: 10

            The stakes are incredibly high in this scene, with the potential for betrayal and the escalation of violence. The characters' lives and the success of the mission are at risk.

            Story Forward: 9

            The scene moves the story forward by introducing a new conflict and raising the stakes for the characters. The reveal of Bridget's allegiance adds a new layer of complexity to the plot.

            Unpredictability: 7

            This scene is unpredictable because it includes unexpected actions and decisions by the characters, such as shooting the dogs and the revelation of the missing person.

            Philosophical Conflict: 0

            There is no evident philosophical conflict in this scene.


            Audience Engagement

            Emotional Impact: 9

            The scene elicits strong emotions, such as tension, sadness, and determination. The unexpected betrayal and the violence of the shootout add to the emotional impact.

            Dialogue: 7

            The dialogue is impactful and effectively conveys the characters' emotions and intentions. However, some exchanges feel slightly repetitive and could benefit from more variety.

            Engagement: 9

            This scene is engaging because it involves intense moments of action and conflict, which keep the audience hooked and interested.

            Pacing: 8

            The pacing and rhythm of the scene contribute to its effectiveness as it maintains a fast pace and keeps the audience engaged with quick dialogues and action.


            Technical Aspect

            Formatting: 9

            The formatting of this scene follows the expected style and format for this genre, with properly formatted scene headings, dialogues, and action descriptions.

            Structure: 8

            The structure of this scene follows the expected format for this genre, with clear scene headings, dialogues, and action descriptions.


            Critique Overall, this scene could use some improvement. Here are a few suggestions:

            1. Dialogue: While the dialogue does move the story forward, it lacks nuance and depth. Consider adding more subtext and emotional depth to the characters' lines, especially in such intense scenes.

            2. Character Development: Some characters, like Donny and the old man, could be developed further to make their actions and motivations clearer. Show more of their personalities and backgrounds to make them more relatable and engaging.

            3. Action and Blocking: The action and blocking could be described in more detail to enhance the visual aspect of the scene. This will help the reader visualize the scene and understand the spatial relationships between the characters.

            4. Suspense and Tension: While there are moments of suspense and tension, they could be heightened by incorporating more effective pacing, building up the tension gradually, and using visual and auditory cues to increase the suspense.

            5. Clarity: Some parts of the scene may be confusing to the reader. Clarify the sequence of events and make sure the reader can easily follow the action and dialogue.

            6. Language: While the dialogue is generally effective, consider using more concise language and eliminating unnecessary repetition to improve the overall flow and readability.

            By addressing these areas, you can enhance the impact of the scene and make it more engaging for the audience.
            Suggestions 1. Clarify character intentions: In the first part of the scene, it is not entirely clear why Donny is shooting the dogs and screaming for morphine. It would be helpful to establish his frustration or desperation more clearly, perhaps by showing him witnessing someone in pain or in need of the morphine.

            2. Add more tension: The scene between Donny and the old man could be heightened by building in more tension. For example, the old man could refuse to give the morphine at first, leading to a more intense confrontation between the two characters.

            3. Simplify the dialogue: Some of the dialogue in this scene is a bit repetitive and could benefit from being more concise. For example, the repeated use of the word "morphine" in SGT. DONOWITZ's lines can be condensed without losing the impact.

            4. Establish location transitions more clearly: The scene cuts between two different locations without clear transitions. Adding visual or auditory cues to indicate the change in location would help to orient the audience and make the scene flow more smoothly.

            5. Show, don't tell: When describing the flashback of the three soldiers ambushing the German company, consider showing the action rather than simply describing it in text. This will make the scene more engaging and visual for the audience.

            6. Develop tension with visuals: In the scene with Col. Hans Landa examining the dress shoes, consider showing his reaction to the blood and the missing person in a more suspenseful way. Close-up shots of his face or quick cuts between his discovery and his reaction will enhance the tension of the moment.

            7. Strengthen the interrogation scene: Add more layers to the conversation between LT. ALDO and BRIDGET during the interrogation. Consider adding more subtext or conflict between the characters to make the scene more engaging and dynamic.

            8. Build anticipation: To create anticipation for the upcoming premiere where the Basterds will be wearing tuxedoes, consider adding visual cues, such as shots of the tailor fitting the tuxedoes or characters discussing the plan in more detail.

            9. Show the significance of the tickets: When BRIDGET reveals the tickets to the premiere, make sure to highlight their importance and significance. This could be done through close-up shots of the tickets or by having the characters react with excitement or concern.

            10. Consider pacing: Make sure the scene flows smoothly and that each moment serves a purpose in advancing the story or developing the characters. If any parts of the scene feel extraneous or repetitive, consider trimming them down to maintain a strong pace.



            Scene 33 -  The Führer's Attendance
            BRIDGET
            Lt. Hicox was going as my escort.
            The other two were going as a German cameraman
            and his assistant.
            [120]



            LT. ALDO
            Can you still get us into that
            premiere?

            BRIDGET
            Can you speak German better than your friends?
            No. Have I been shot? Yes.
            I don’t see me tripping the light fantastic up
            the red carpet anytime
            soon. Least of all by tomorrow
            night.
            (pause)
            However, there’s something you don’t know.
            There’s been two recent developments regarding
            Operation
            Kino. One, the venue has been
            changed from The Ritz to a much
            smaller venue.

            LT. ALDO
            Enormous changes at the last minute? That’s not
            very Germanic. Why the
            hell is Goebbels doin’ stuff so damn peculiar?

            BRIDGET
            It probably has something to do with
            the second development.

            LT. ALDO
            Which is?

            FLASH ON
            IN A PRIVATE DINING ROOM IN GERMANY, the FUHRER, aka Adolf Hitler,
            aka Adolf Shicklegroover, aka the Bohemian Corporal, having dinner
            with Goebbels, only a few short days ago.

            THE FUHRER
            (GERMAN)
            I’ve been rethinking my position in regards to
            your Paris premiere of “Nation’s Pride.” As the
            weeks have
            gone on and the Americans are on
            the beach, I do find myself thinking
            more and more about this Private
            Zoller. This boy has done something tremendous
            for us. And I’m beginning
            to think my participation in this
            event could be meaningful.

            BACK TO BRIDGET

            BRIDGET
            The Führer’s attending the premiere.
            [121]



            Donny breaks the team’s silence:

            SGT. DONOWITZ
            What?

            LT. ALDO
            When the hell did this happen?

            BRIDGET
            The venue change, two weeks ago.
            The Führer’s attendance, four days
            ago.

            LT. ALDO
            And how come London don’t know
            nothing about that?

            BRIDGET
            We need to get something straight,
            once and for all. Everything London knows, it
            learned from me. If I
            don’t know, London doesn’t know.
            So now, this is me, informing you, Hitler’s
            coming to Paris.

            SGT. DONOWITZ
            FUCK A DUCK!

            Aldo stands up from the chair, pacing as he takes in this new
            information.

            BRIDGET
            What are you thinking?

            LT. ALDO
            I’m thinking getting a wack at
            plantin’ ole Uncle Adolph makes
            this a horse of a different color.

            BRIDGET
            What’s that supposed to mean?

            LT. ALDO
            It means you’re gettin’ us into that premiere.

            BRIDGET
            I’m going to probably end up losing
            this leg, bye bye, acting career,
            fun while it lasted. How do you
            expect me to walk up a red carpet?
            [122]



            LT. ALDO
            The doggie doc’s gonna dig that slug outta your
            gam. Then he’s gonna wrap
            it up in a cast, and you gotta good
            “how I broke my leg mountain climbing” story.
            That’s German, ain’t it?
            Y’all like climbin’ mountains,
            don’t cha?

            BRIDGET
            I don’t. I like smoking, drinking,
            and ordering in restaurants, but I
            see your point.

            LT. ALDO
            We fill ya up with morphine, till
            it’s comin out ya ears. Then just
            limp your little ass up that
            rouge car-pet.

            BRIDGET
            Splendid. When the Nazis put me up against a
            wall, it won’t hurt
            so much.
            (changing tone)
            I know this is a silly question
            before I ask it, but can you
            Americans speak any other language
            than English?

            HIRSCHBERG
            Other than Yiddish?

            BRIDGET
            Preferably.

            Donny, referring to Aldo and himself:

            SGT. DONOWITZ
            We both speak a little Italian.

            BRIDGET
            With an atrocious accent, no doubt.
            But that doesn’t exactly kill us
            in the crib. Germans don’t have a
            good ear for Italian. So you mumble Italian and
            brazen through it, is
            that the plan?

            LT. ALDO
            That’s about it.
            [123]



            BRIDGET
            That sounds good.

            LT. ALDO
            It sounds like shit, but what else
            we gonna do, go home?

            BRIDGET
            No, it’s good. If you don’t blow it
            with that, I can get you in the building.
            (changes tone)
            So, who does what?

            LT. ALDO
            Well, I speak the most Italian, so
            I’ll be your escort. Donowitz speaks
            the second most, so he’ll be your Italian
            cameraman. And Hirschberg
            third most, so he’ll be Donny’s assistant.

            HIRSCHBERG
            I don’t speak Italian.

            LT. ALDO
            Like I said, third best. Just keep
            your fuckin’ mouth shut. In fact, why don’t you
            start practicing right now.
            Genres: ["War","Thriller"]

            Summary Major Hellstrom reveals his knowledge of Lt. Hicox and the Basterds' true identities, resulting in a Mexican standoff. Bridget kills Willi, revealing her true allegiance. Sgt. Donowitz brings an old veterinarian to treat Bridget's gunshot wound.
            Strengths
            • Intense and suspenseful atmosphere
            • Strong character moments
            • High stakes
            Weaknesses
            • Limited character development
            • Minimal thematic exploration

            Ratings
            Overall

            Overall: 7

            The scene is intense and suspenseful, with high stakes and strong character moments.


            Story Content

            Concept: 6

            The idea of Major Hellstrom revealing his knowledge adds tension to the scene.

            Plot: 7

            The plot develops as the characters' true identities are revealed and a shootout ensues.

            Originality: 8

            This scene is fairly original in its approach to the World War II genre. The presence of Adolf Hitler at the premiere adds a unique twist and creates a fresh and unexpected challenge for the characters. The authenticity of the characters' actions and dialogue is high, as they respond realistically to the new information and adjust their plans accordingly.


            Character Development

            Characters: 8

            The characters face internal conflicts and make significant choices.

            Character Changes: 7

            The characters face challenges and make choices that reveal their true selves.

            Internal Goal: 8

            The protagonist's internal goal in this scene is to figure out how to navigate the changed circumstances and still carry out the mission. This reflects their deeper need to prove their competence and dedication to the cause, as well as their fear of failure and the consequences that may follow.

            External Goal: 9

            The protagonist's external goal in this scene is to come up with a plan to infiltrate the premiere and carry out the mission, despite the presence of Adolf Hitler. This reflects the immediate challenge they are facing, which is the need to adapt their plans and strategies to the new information they have.


            Scene Elements

            Conflict Level: 9

            The scene is filled with conflicts, both physical and emotional, leading to a bloody shootout.

            Opposition: 9

            The opposition in this scene is strong, as the characters are faced with the challenge of carrying out their mission despite the unexpected presence of Adolf Hitler. The audience is unsure of how the characters will overcome this obstacle, adding to the tension and unpredictability.

            High Stakes: 9

            The characters' lives and mission are at risk, especially with the revelation of Hitler's attendance at the premiere.

            Story Forward: 8

            The scene moves the story forward by revealing important plot developments and raising the stakes.

            Unpredictability: 7

            This scene is somewhat unpredictable because the presence of Adolf Hitler at the premiere is unexpected and creates a new and challenging obstacle for the characters. However, some aspects of the scene, such as the characters' decision to speak Italian, can be anticipated.

            Philosophical Conflict: 7

            There is a philosophical conflict evident in this scene between the protagonist's values of loyalty and commitment to the mission, and the unexpected presence of Adolf Hitler at the premiere. This challenges their beliefs and forces them to reassess their approach.


            Audience Engagement

            Emotional Impact: 8

            The scene evokes tension, shock, and suspense, keeping the audience engaged.

            Dialogue: 6

            The dialogue is mainly focused on conveying information and setting up the plot.

            Engagement: 9

            This scene is engaging because it introduces a new complication in the mission and raises the stakes for the protagonists. The witty and sharp dialogue keeps the audience interested and entertained.

            Pacing: 8

            The pacing of the scene is effective in building tension and maintaining the audience's interest. The dialogue and action flow smoothly, and the transitions between characters and their reactions to the new information are well-paced.


            Technical Aspect

            Formatting: 0

            Structure: 8

            The structure of this scene follows the expected format for its genre. It introduces the conflict, presents the protagonists' goals, and sets up the next steps in the narrative.


            Critique Overall, this scene effectively conveys important information about the change in venue for Operation Kino and the unexpected attendance of Adolf Hitler at the premiere. The dialogue is engaging and the characters' reactions are believable. However, there are a few areas that could be improved:

            1. Dialogue style: While the dialogue is generally well-written, some of the characters' lines feel out of place or excessively casual given the context. For example, lines like "FUCK A DUCK!" and "What are you thinking?" may detract from the seriousness of the situation. Consider adjusting the language to better suit the tone and era of the story.

            2. Character development: The characters of Bridget and Lt. Aldo could benefit from further development. Their motivations and emotions are not fully explored in this scene, and it would be helpful to have a better understanding of their backgrounds and personal stakes in the mission. Additionally, the dialogue could be used to reveal more about their personalities or relationships with one another.

            3. Visual elements: Since screenwriting is a visual medium, it is important to consider how this scene would be portrayed visually. Include specific details about the setting, character expressions, and actions to enhance the scene's impact. For example, describing Lt. Aldo's pacing or Bridget's worried expression would add depth to the scene.

            Overall, the scene effectively conveys important plot developments, but could benefit from further character development, a more appropriate dialogue style, and visual descriptions.
            Suggestions Here are some suggestions to improve the scene:

            1. Improve the dialogue: The dialogue feels a bit excessive and could be tightened up to make it more natural and engaging. Consider removing unnecessary lines or combining some dialogue to make it more concise.

            2. Show rather than tell: Instead of characters simply discussing the recent developments, consider showing them in action or reacting to the news. This can engage the audience more effectively and make the scene more visually interesting.

            3. Add emotional depth: The scene feels a bit straightforward and functional. To add depth and make it more engaging, consider adding emotional reactions from the characters. Show their fear, anger, or excitement regarding the new information.

            4. Develop character dynamics: Explore the dynamics between the characters further. Show their relationships and personalities through their dialogue and reactions. This can add depth and make the scene more compelling.

            5. Consider pacing: The scene could benefit from having a more dynamic pacing. Consider adding moments of tension or suspense to keep the audience engaged and create anticipation for what's to come.

            6. Enhance visual elements: As a screenwriter, think about how the scene can be conveyed visually. Consider adding descriptions of locations, characters' actions, or expressive visuals to make the scene more visually appealing and impactful.

            By implementing these suggestions, you can improve the overall quality of the scene and make it more compelling for the audience.



            Scene 34 -  The Mexican Standoff
            BRIDGET
            (meaning Utivich)
            What about the little one?

            UTIVICH
            Do you mean me?

            BRIDGET
            I didn’t mean any offense.

            UTIVICH
            None taken, you German cunt.

            LT. ALDO
            Utivich is the chauffeur.

            UTIVICH
            I can’t drive.

            Bridget SCREAMS in frustration:

            BRIDGET
            You Americans are fucking useless!
            [124]



            UTIVICH
            Gimmie a break. I’m from Manhattan.

            LT. ALDO
            No worries, son. We got over fourteen hours
            before the movie tomorrow.
            More than enough time for you to learn to
            drive.

            UTIVICH
            No, no, no, no, Lieutenant, it’s not!

            LT. ALDO
            Oh, yes, yes, yes, yes, Private, it is. And
            yes, yes, yes, you will.
            (changes tone)
            Look, Utivich, you and I both know,
            if we went to grade school together,
            you damn sure ain’t copyin’ off of my test.
            Well, I lernt to drive in four hours on a
            Tennessee mountain road.
            And I’m a shit-for-brains coal miner
            bootlegger. Hirschberg, you know how
            to drive, right?

            HIRSCHBERG
            Yes.

            LT. ALDO
            Teach ’im.

            BRIDGET
            But there is a problem. I’m a movie star. This
            is a movie premiere.
            I can’t show up looking like I was
            just in a Nazi gunfight. Now I
            have a dress for the premiere at my hotel. But
            sometime tomorrow I
            have to get my hair done.

            All the Basterds, except Donny, burst out laughing.

            LT. ALDO
            Sister, you must got wunderbar luck. Guess who
            went to beauty school?

            The CAMERA WHIP-PANS to SGT. DONOWITZ.

            Bridget rolls her eyes.
            [125]



            BLACK FRAME

            CHAPTER TITLE APPEARS:


            CHAPTER FIVE

            “REVENGE OF THE GIANT FACE”

            FADE OFF

            INT—SHOSANNA AND MARCEL’S LIVING QUARTERS—NIGHT

            We’re in Shosanna and Marcel’s living quarters above the
            cinema. We’ve never been in here before.

            A SUBTITLE APPEARS ONSCREEN:

            “NIGHT OF ‘NATION’S PRIDE’ PREMIERE”

            Shosanna’s standing before a full-length mirror in a real
            attractive forties-style dress for the premiere. She’s stunning.
            This is the first time in her life she’s had the opportunity
            or the occasion to wear something like this. Since she knows
            this is the last night of her life, no time like the present.

            SOUNDS of the hubbub of the premiere, not to mention the
            German brass band that’s blaring Third Reich marches, can be heard
            coming from below.

            Shosanna walks to her apartment window and looks down at the
            Germanic miasma below.

            SHOSANNA’S POV
            WE SEE all the pageantry below. Tons of SPECTATORS. Tons of guests
            dressed in Nazi uniforms, tuxedoes, and female finery, walking up
            the long red carpet (with a big swastika in the middle, naturally)
            leading into Shosanna’s cinema. The German brass band omm-pa-pa-ing
            away. German radio and film crews covering the event for the
            fatherland back home. And, of course, MANY GERMAN SOLDIERS
            providing security for this joyous Germanic occasion.

            Shosanna COUGHS up a lugi and HOCKS it.

            A GERMAN S.S. GENERAL being interviewed by a RADIO COMMENTATOR—the
            lugi HITS him right on his bald head.

            Shosanna goes back to the full-length mirror, places a very
            fashionable forties-style hat on her head, then lowers the period-
            style black fishnet veil over her face. She takes out
            a small GUN and puts it in the pocket of her dress, and it’s
            on. She exits the apartment door to join the premiere.
            From this point on, there’s no turning back. It’s all the way baby,
            all the fucking way!
            [126]



            INT—CINEMA STAIRWELL—NIGHT

            The stairwell in the building that connects the living
            quarters with the cinema. Shosanna walks down the stairs and goes
            through a door that puts her next to the projection booth door. She
            takes out a key and opens it.

            INT—PROJECTION BOOTH—NIGHT

            Marcel’s prepping the film reels for tonight. The five silver
            metal film cans that carry one 35mm reel of film each are laid
            out. The cans for reels one and two are empty. Cans for reel
            three, our specially marked can for reel four, and the can for
            reel five (which should never see the light of a projector)
            lie in wait.

            Shosanna, looking like a forties movie star, enters the projection
            booth.

            The scene in FRENCH SUBTITLED IN ENGLISH:

            MARCEL
            Ooh la la, Danielle Darrieux, this
            is so exciting. Pleased to meet you.

            SHOSANNA
            Shut up, fool.

            Marcel lifts up the veil covering her face and their lips
            meet.

            SHOSANNA
            Cheeky black bugger. I have to go
            down and socialize with these Hun
            pigs. Let’s go over it again?

            MARCEL
            Reel one is on the first projector.
            Reel two is on the second. Three
            and four are ready to go.

            SHOSANNA
            Okay, the big sniper battle in the
            film begins around the middle of
            the third reel. Our film comes on
            in the fourth reel, so somewhere
            toward the end of the third reel,
            go down and lock the doors of the auditorium.
            Then take your place
            behind the screen, and wait for my
            CUE when I give it to you: BURN IT DOWN!
            [127]



            INT—CINEMA LOBBY—NIGHT
            Genres: ["Action","Thriller"]

            Summary Lt. Aldo and Hirschberg try to establish trust with Willi but end up in a Mexican standoff. Bridget reveals her true allegiance and kills Willi. Meanwhile, Sgt. Donowitz forcefully brings an old veterinarian to treat Bridget's gunshot wound.
            Strengths
            • Intense action
            • Engaging dialogue
            • Suspenseful atmosphere
            Weaknesses

              Ratings
              Overall

              Overall: 9

              The scene is well-crafted, showcasing strong action and suspense. The dialogue is engaging, and the plot developments are significant. However, there may be room for improvement in terms of character development and emotional impact.


              Story Content

              Concept: 8

              The concept of the scene, involving trust, betrayal, and a Mexican standoff, is intriguing and keeps the audience engaged. The use of multiple locations adds complexity to the scene.

              Plot: 9

              The plot of the scene is well-executed, with the revelation of Bridget's true allegiance and the escalation of tension in the Mexican standoff. The scene moves the story forward by introducing key plot developments.

              Originality: 9

              The level of originality in this scene is high. The situation of a planned revenge on Nazis during a movie premiere provides a fresh approach to the theme of resistance against the Nazis. The characters' actions and dialogue feel authentic and true to their motivations and circumstances.


              Character Development

              Characters: 7

              While the characters' actions and dialogue are engaging, there is limited character development in this scene. More depth and complexity could be added to the characters to enhance their impact.

              Character Changes: 6

              There is limited character change in this scene, with the focus more on plot developments. More emphasis on character growth and transformation could enhance the scene.

              Internal Goal: 7

              The protagonist's internal goal in this scene is to go through with her plan to take revenge on the Nazis. It reflects her desire for justice and to make them pay for their crimes.

              External Goal: 8

              The protagonist's external goal is to burn down the cinema with all the Nazis inside. It reflects the immediate challenge she is facing, which is to carry out her plan without being caught.


              Scene Elements

              Conflict Level: 10

              The conflict in the scene is high, with tensions escalating in the Mexican standoff and the reveal of Bridget's betrayal. The characters' conflicting goals and allegiances create a sense of danger and suspense.

              Opposition: 8

              The opposition in this scene is strong, as the protagonist faces the challenge of carrying out her plan without being caught by the Nazis. The audience is unsure of how the protagonist's plan will go and what obstacles she will face along the way.

              High Stakes: 9

              The stakes in the scene are high, with the characters' lives and alliances on the line in the Mexican standoff and the consequences of Bridget's betrayal.

              Story Forward: 9

              The scene moves the story forward significantly by introducing key plot developments, such as the reveal of Bridget's betrayal and the tensions in the Mexican standoff.

              Unpredictability: 7

              This scene is somewhat unpredictable because while the overall goal of the protagonist is clear, the specific details of her plan and how she will execute it are not revealed until later in the scene.

              Philosophical Conflict: 9

              There is a philosophical conflict evident in this scene between the protagonist's belief in justice and revenge against the Nazis, and the Nazi ideology and propaganda being celebrated at the premiere.


              Audience Engagement

              Emotional Impact: 7

              The scene elicits some emotional response from the audience due to the intense and suspenseful atmosphere. However, there is room for deeper emotional engagement and connection with the characters.

              Dialogue: 8

              The dialogue in the scene is well-written and captures the intense and suspenseful atmosphere. The use of humor also adds an engaging element to the dialogue.

              Engagement: 9

              This scene is engaging because it presents a high-stakes situation with intense dialogue and vivid description. The conflict between the protagonist's goals and the Nazis creates tension, and the reader is invested in seeing how the protagonist's plan will unfold.

              Pacing: 9

              The pacing of the scene is effective in building tension and maintaining the reader's engagement. The dialogue and action are well-paced, with moments of intensity and moments of reflection.


              Technical Aspect

              Formatting: 9

              The formatting of this scene follows the expected format for its genre. The dialogue is properly formatted with character names and actions, and the scene is clearly described with scene headings, transitions, and sluglines.

              Structure: 8

              The structure of this scene follows the expected format for its genre. It begins with a conversation between characters, followed by descriptive narrative paragraphs, and ends with a transition to the next location with a chapter title.


              Critique Overall, this scene is well-written with strong and distinct character voices. The dialogue is sharp, and the interactions between the characters reveal their personalities and relationships.

              One suggestion for improvement could be to clarify the setting and actions of the characters. Some parts of the scene are described in detail, such as Shosanna getting ready for the premiere, but other parts, like the interactions between Bridget, Utivich, and Lt. Aldo, are lacking in action and description. Adding more specific actions and gestures could enhance the visual aspect of the scene and make it more engaging for the reader.

              Additionally, the transition between the dialogue in the theater stairwell and the dialogue in the cinema lobby could be smoother. It is not immediately clear that the scene has changed locations, and a clearer separation, such as a new heading or visual cue, could help the reader understand the shift in setting.

              Overall, the scene is well-written, with strong dialogue and character dynamics. With a few minor adjustments, it could be even stronger and more visually engaging for the reader.
              Suggestions - The dialogue between Bridget and Utivich can be made clearer by adding character identifiers. For example, instead of "meaning Utivich," it would be better to write "Bridget (to Utivich)."
              - Consider adding more action or visuals to the scene to make it more engaging. This could include describing the characters' expressions, gestures, or movements.
              - Make Lieutenant Aldo's dialogue more concise and impactful. Instead of repeating "yes, yes, yes, yes," it could be shortened to one or two repetitions for emphasis.
              - Develop the comedic moments further by adding specific actions or reactions from the characters.
              - Consider adding more description to set the tone and atmosphere in Shosanna and Marcel's living quarters. This will help the reader visualize the setting and understand the characters' emotions better.
              - Emphasize the tension and anticipation in the scene leading up to the premiere. This can be done through a mix of description and character thoughts or actions.
              - Instead of using "forties-style dress" multiple times, consider using more specific language to describe the dress and make it more tangible to the reader.
              - Add more description to Shosanna's actions as she prepares for the premiere. This will make her transformation and determination more evident.
              - Consider adding more sensory details to the scene in Shosanna's apartment, such as the smell of the German brass band or the sound of the S.S. general being hit by the lugi.
              - Develop Shosanna and Marcel's relationship and chemistry further through their actions and dialogue.
              - Consider adding more tension and foreshadowing to the conversation between Shosanna and Marcel about burning down the auditorium. This will create more suspense and anticipation for what is to come.



              Scene 35 -  The Meeting with Col. Hans Landa
              The pageantry of the evening is in full swing, as all the
              German beautiful people enter the cinema. They mingle in the
              swastika-covered, Greek-nude-statue-peppered lobby. Nazi
              military commanders, high-ranking party officials, and German
              celebrities (Emil Jannings, Veit Harlan) hobnob and drink Champagne
              from passing WAITERS, who carry glasses on silver trays.

              We see Shosanna enter from the area at the top of the big
              staircase in the lobby that overlooks the lobby parlor
              entrance. She descends the staircase and busies herself with
              theater stuff.

              At the top of the staircase, looking down at the master race in all
              their finery, is Col. Hans Landa, dressed in his finest S.S. dress
              uniform.

              CAMERA FRAME
              directly behind him. On the right side, we see the figure of
              Col. Landa, from behind, watching the guests entering the
              cinema. On the left side of the frame is the cinema entrance, from
              a looking-down perspective of the guests entering the building.

              THEN . . .

              A THINK BUBBLE, like in a comic book, appears on the left
              side of the frame, obscuring the cinema entrance. Inside Landa’s
              think bubble a little scene plays out.

              THINK BUBBLE
              A hospital room filled with DOCTORS, NURSES, and a
              PATIENT in a hospital bed. Then Col. Landa enters the room and
              screams at everybody:

              COL. LANDA
              I want everybody out of this room!

              They start to leave.

              COL. LANDA
              That means now, goddamnit!

              They RUSH OUT.

              He walks over to the patient in the hospital bed. It’s none
              other than SGT. WILLI, and yes, he’s still alive.

              Landa pulls up a chair next to the bed and sits down.

              COL. LANDA
              Can you speak, Sergeant?
              [128]



              SGT. WILLI
              (weakly)
              Yes, Colonel.

              COL. LANDA
              Tell me everything that happened in there.

              The THINK BUBBLE DISSOLVES away, revealing the entrance again, and
              as if on perfect cue, in walks Bridget von Hammersmark, dressed
              lovely, leg in a big white cast. The three Basterds in their
              tuxedos flank her.

              CU COL. LANDA
              smiles.

              He descends the stairs, toward the four saboteurs . . .

              They speak in GERMAN, SUBTITLED IN ENGLISH:

              COL. LANDA
              Fräulein von Hammersmark, what
              has befallen Germany’s most elegant swan?

              BRIDGET
              Col. Landa, it’s been years.
              Dashing as ever, I see.

              COL. LANDA
              Flattery will get you everywhere, Fräulein.

              They chuckle and air kiss.

              COL. LANDA
              So what’s happened to your lovely
              leg? A by-product of kicking ass in
              the German cinema, no doubt.

              BRIDGET
              Save your flattery, you old dog.
              I know too many of your former
              conquests to fall into that honeypot.

              Chuckle . . . chuckle . . .

              COL. LANDA
              Seriously, what happened?
              [129]



              BRIDGET
              Well, I tried my hand, foolishly I
              might add, at mountain climbing.
              And this was the result.

              COL. LANDA
              Mountain climbing? That’s how you injured your
              leg—mountain climbing?

              BRIDGET
              Believe it or not, yes, it is.

              A brief moment passes between the two . . .

              THEN . . .

              The colonel BURSTS OUT with UPROARIOUS LAUGHTER. So uproarious, in
              fact, that it’s quite disconcerting to the four saboteurs.

              The colonel begins to regain his composure . . .

              COL. LANDA
              Forgive me, Fräulein. I don’t mean to laugh at
              your misfortune. It’s just
              . . . mountain climbing? I’m curious, Fräulein,
              what could have ever
              compelled you to undertake such a foolhardy
              endeavor?

              The double meaning is not lost on the German actress.

              BRIDGET
              Well, I shan’t be doing it again, I can tell
              you that.

              COL. LANDA
              That cast looks as fresh as my old
              Uncle Gustave. When were you climbing this
              mountain, last night?

              BRIDGET
              Very good eye, Colonel. It happened yesterday
              morning.

              COL. LANDA
              Hummm. And where exactly in Paris
              is this mountain?

              This stops her for a second.

              Then Landa laughs it off, taking them off the hook.
              [130]



              COL. LANDA
              I’m just teasing you, Fräulein. You
              know me, I tease rough. So who are
              your three handsome escorts?

              BRIDGET
              I’m afraid neither of the three speak a word of
              German. They’re friends of
              mine from Italy. This is a wonderful Italian
              stuntman, Antonio Margheriti.
              (meaning Aldo)
              A very talented cameraman, Enzo Gorlomi.
              (meaning Donny)
              And Enzo’s camera assistant, Dominick Decocco.

              The German Fräulein turns to the three tuxedo-wearing
              Basterds.

              BRIDGET
              (ITALIAN)
              Gentlemen, this is an old friend, Colonel
              Hans Landa of the S.S.

              The Basterds know only too well who Landa the Jew Hunter is,
              but they can’t show it.

              Aldo sticks out his hand . . .

              LT. ALDO
              Buongiorno.

              The German takes his hand . . .

              COL. LANDA
              Margheriti . . .
              (ITALIAN)
              Am I saying it correctly? . . . Margheriti?

              LT. ALDO
              (ITALIAN)
              Yes. Correct.

              COL. LANDA
              (ITALIAN)
              Margheriti . . . Say it for me once, please . .
              . ?
              Genres: []

              Summary Lt. Aldo and Hirschberg try to establish trust with Willi but end up in a Mexican standoff. Bridget reveals her true allegiance and kills Willi. Meanwhile, Sgt. Donowitz forcefully brings an old veterinarian to treat Bridget's gunshot wound.
              Strengths "Tense standoff, surprising plot twist, introduction of new character"
              Weaknesses "Dialogue could be more impactful, theme could be further developed"

              Ratings
              Overall

              Overall: 8

              The scene has a high level of tension and introduces a major plot twist.


              Story Content

              Concept: 8

              The concept of the scene is well-executed and adds suspense to the story.

              Plot: 9

              The plot progresses significantly with the introduction of a new character and the unexpected betrayal.

              Originality: 6

              The level of originality in this scene is moderate. While the setting of Nazi Germany and the interactions between the characters may be familiar in other works set during this time period, the specific dialogue and humor employed by the writer adds a fresh and unique touch. The authenticity of the characters' actions and dialogue also adds to the originality of the scene.


              Character Development

              Characters: 8

              The characters' actions and dialogue are consistent with their established personalities, and Bridget's betrayal adds depth to her character.

              Character Changes: 7

              Bridget's betrayal reveals a significant change in her character's motivations and allegiances.

              Internal Goal: 7

              The protagonist's internal goal in this scene is not explicitly stated, but it can be inferred that Shosanna's deeper need, fear, or desire is to survive and escape the Nazi regime.

              External Goal: 8

              The protagonist's external goal in this scene is to interact with Colonel Hans Landa and the three Basterds in a way that doesn't reveal her true identity or endanger her own life. It reflects the immediate circumstances of being in a tense and dangerous situation under Nazi rule.


              Scene Elements

              Conflict Level: 9

              The scene is filled with tension and conflict, with multiple characters at odds with each other.

              Opposition: 8

              The opposition in this scene is strong, as the protagonist is trying to conceal her true identity and intentions from Colonel Landa, who is a skilled interrogator. The audience is unsure of how the interaction between the characters will unfold, adding to the tension and conflict.

              High Stakes: 9

              The stakes are high as the characters navigate a treacherous situation and face potential danger.

              Story Forward: 9

              The scene introduces new information and propels the plot forward.

              Unpredictability: 9

              This scene is unpredictable because the dialogue and actions of the characters often have double meanings and hidden intentions. The audience is kept guessing about each character's true motives and loyalties.

              Philosophical Conflict: 0

              There is no evident philosophical conflict in this scene.


              Audience Engagement

              Emotional Impact: 7

              The scene elicits emotions of surprise and suspense, but could have a stronger emotional impact.

              Dialogue: 7

              The dialogue is engaging and reveals important information, but it could be more impactful.

              Engagement: 9

              This scene is engaging because it effectively combines humor, tension, and intrigue. The witty dialogue and double meanings keep the audience on their toes, while the interactions between the characters create a sense of suspense and anticipation.

              Pacing: 7

              The pacing of the scene contributes to its effectiveness by balancing moments of tension and suspense with moments of humor. The rhythm of the dialogue and the concise narrative description help maintain the momentum of the scene.


              Technical Aspect

              Formatting: 8

              The formatting of this scene follows the expected format for its genre. It includes clear scene headings, concise action lines, and dialogue formatted correctly with proper character cues.

              Structure: 8

              The structure of this scene follows the expected format for its genre. It establishes the setting and characters, introduces conflict and tension, and sets up future events in the narrative.


              Critique Overall, this scene is well-written and effectively sets up the atmosphere and tension of the event. The descriptions paint a vivid picture of the location and the characters' actions. However, there are a few areas that could be improved:

              1. The use of a "think bubble" to show Colonel Landa's flashback is an interesting idea, but it may not translate well on screen. Consider using a different visual cue to indicate the flashback, such as a fade or dissolve effect.

              2. The dialogue between Colonel Landa and Shosanna could be further developed to add more depth to their interaction. This could include more subtext and tension to highlight their conflicting motivations and secrets.

              3. The dialogue between Colonel Landa and Bridget von Hammersmark is witty and engaging, but it could be condensed to maintain a strong pace. Some of the exchanges feel repetitive and could be streamlined for more impact.

              4. It would be beneficial to have clearer action lines and descriptions to guide the director, actors, and production team. Adding more specific details about how the characters move and interact with their surroundings can enhance the visual storytelling.

              Overall, this scene effectively establishes the setting and introduces key characters, but with some minor adjustments, it could be more streamlined and impactful.
              Suggestions Here are some suggestions to improve this scene:

              1. Clarify the location: Provide some visual cues or descriptions to help the reader understand the layout of the cinema and the lobby. This will make the scene more immersive and help the reader visualize what is happening.

              2. Develop Shosanna's actions: Instead of simply stating that Shosanna busies herself with theater stuff, show specific actions or interactions that demonstrate her nervousness or anticipation for the upcoming events. This will make her character more dynamic and relatable.

              3. Reconsider the "think bubble" technique: The inclusion of a think bubble can be distracting or confusing for readers. Instead, consider using a more traditional method, such as a flashback or a dialogue between characters, to convey the information about Landa's encounter with Sgt. Willi.

              4. Show, don't tell Landa's reaction: Instead of stating that Landa smiles, show his reaction through his facial expressions, body language, or dialogue. This will make his character more nuanced and give the actor playing Landa more room for interpretation.

              5. Streamline the dialogue: Some of the dialogue exchanges can be shorter and more concise. Aim for tighter, snappier dialogue that reveals the characters' personalities and motivations.

              6. Provide more context for the Basterds' reaction: Show the internal struggle or tension within the Basterds as they interact with Landa. This will add depth to their characters and help the audience understand the stakes of their interaction.

              7. Use language to differentiate characters: Use different speech patterns, vocabulary, or sentence structures to differentiate the characters' nationalities. This will add authenticity to their dialogue and make it easier for actors to differentiate their performances.

              Overall, focus on making the scene more visually engaging, enhancing character dynamics, and tightening the dialogue to improve the pacing and impact of the scene.



              Scene 36 -  The Mexican Standoff
              LT. ALDO
              Margheriti.
              [131]



              COL. LANDA
              (ITALIAN)
              I’m sorry, again . . . ?

              LT. ALDO
              Margheriti.

              COL. LANDA
              (ITALIAN)
              Once more . . .?

              LT. ALDO
              Margheriti.

              COL. LANDA
              Margheriti.

              (FRENCH)
              It means daisies, I believe.

              Turning his gaze to Donny.

              COL. LANDA
              (ITALIAN)
              What’s your name again?

              SGT. DONOWITZ
              Enzo Gorlomi.

              COL. LANDA
              (ITALIAN)
              Again . . . ?

              SGT. DONOWITZ
              Gorlomi.

              COL. LANDA
              (ITALIAN)
              One more time, but let me really
              hear the music in it.

              SGT. DONOWITZ
              (HAMMY ITALIAN)
              Gorlomi.

              Now to Hirschberg . . .

              COL. LANDA
              (ITALIAN)
              And you?

              Then Hirschberg breaks out the best Italian accent of the
              group:
              [132]



              HIRSCHBERG
              Dominick Decocco.

              COL. LANDA
              Dominick Decocco?

              HIRSCHBERG
              Dominic Decocco.

              COL. LANDA
              Bravo . . . Bravo.

              BRIDGET
              (GERMAN)
              Well, my two cameraman friends need
              to find their seats.

              Col. Landa stops a WAITER with a tray of champagne glasses.

              COL. LANDA
              (GERMAN)
              Not so fast. Let’s enjoy some champagne.

              Everyone gets a glass.

              COL. LANDA
              (FRENCH)
              —Oh, Mademoiselle Mimieux, please
              join us. I have some friends I’d
              like you to meet.

              Shosanna joins the circle and is handed a champagne glass.

              This is the first moment the Basterds are aware of Shosanna.

              COL. LANDA
              (FRENCH)
              May I say, Mademoiselle, you look divine.

              SHOSANNA
              (FRENCH)
              Merci.

              COL. LANDA
              (GERMAN)
              This lovely young lady is Mademoiselle
              Emmanuelle Mimieux. This is her cinema, and she
              is our hostess for the evening.
              (FRENCH)
              And, Mademoiselle, this battered, broken, and
              none-worse-for-the-wear German goddess, is
              Bridget von Hammersmark.
              [133]



              BRIDGET
              Bonjour.

              SHOSANNA
              Bonjour.

              BRIDGET
              (FRENCH)
              I’m afraid my companions don’t speak
              any French. They’re Italian. This is Antonio,
              Enzo, and Dominick.

              All three smile goofy, spaghetti-bender smiles.

              COL. LANDA
              (FRENCH)
              Actually, Fräulein von Hammersmark’s Italian
              associates need help finding their seats.
              Perhaps Mademoiselle Mimieux would be so kind
              as to escort them?

              SHOSANNA
              (FRENCH)
              It would be my pleasure. Let me see
              your tickets?

              Donny hands her two tickets. She indicates for them to follow her.

              Donny and Hirschberg both exchange one last look with Aldo,
              then follow the young French girl into the auditorium.

              INT—AUDITORIUM—NIGHT

              The cinema auditorium is filling up quickly with gray and black
              uniforms.

              Shosanna finds the two counterfeit Italians their seats.

              After she points out their seats, she turns to leave . . .

              Hirschberg . . .
              reaches out and grabs her wrist. . . .

              He looks her in the face and, filled with tremendous guilt, because
              if he’s successful tonight he’s going to blow this
              cute French girl to smithereens, he says:

              HIRSCHBERG
              Grazie.
              [134]



              The cute French girl looks back at the goofy-looking Italian
              boy with slicked-back hair that makes him look kind of
              Jewish with tremendous guilt, knowing if she is successful tonight,
              she’s going to burn him alive, and says:

              SHOSANNA
              Prego.

              BACK TO THE LOBBY

              They begin flicking the lights on and off. A GERMAN SOLDIER
              YELLS IN GERMAN:

              GERMAN SOLDIER
              Take your seats! The show is about to begin!
              Everybody take your seats!

              Col. Landa, Lt. Aldo, and Bridget are still together.

              COL. LANDA
              (GERMAN)
              I must call the Führer. He doesn’t
              want to make his entrance until everybody is
              seated. Come with me, Frau von Hammersmark. The
              Führer has
              heard you’re here, and he wishes to commend you
              personally.

              BRIDGET
              (GERMAN)
              Me? Why?

              COL. LANDA
              (GERMAN)
              Don’t be modest. Everybody is quite taken with
              your resolve. An accident like you’ve just
              experienced, and
              yet you still show up to an
              important party event. The Führer
              was quite adamant in his gratitude. We’ll use
              Mademoiselle Mimieux’s office.
              (to Aldo
              in Italian)
              I’m afraid I must rob you of your companion,
              but only for a moment.
              Genres: ["War","Thriller","Drama"]

              Summary Lt. Aldo and Hirschberg try to establish trust with Willi but end up in a Mexican standoff. Bridget reveals her true allegiance and kills Willi. Meanwhile, Sgt. Donowitz forcefully brings an old veterinarian to treat Bridget's gunshot wound.
              Strengths "The scene is filled with tension and suspense, the character revelations are shocking, and the plot moves forward effectively."
              Weaknesses "The dialogue could be more impactful and there could be further exploration of the characters' inner conflicts."

              Ratings
              Overall

              Overall: 9

              The scene is filled with tension and suspense, with the Mexican standoff and the unexpected character revelation adding to the gripping nature of the scene.


              Story Content

              Concept: 8

              The concept of a Mexican standoff and the unexpected betrayal adds depth and intrigue to the scene.

              Plot: 9

              The plot is well-developed, with the Mexican standoff and the reveal of Bridget's allegiance adding twists and turns to the story.

              Originality: 9

              This scene provides a fresh approach to the wartime genre by incorporating multiple languages and emphasizing cultural differences. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


              Character Development

              Characters: 8

              The characters are well-defined and their actions in this scene reveal their true intentions and inner conflicts.

              Character Changes: 8

              Several characters experience significant changes in this scene, particularly Bridget's betrayal and the impact it has on the other characters.

              Internal Goal: 8

              The protagonist's internal goal in this scene is not explicitly stated, but it can be inferred that they are participating in a mission or undercover operation. Their deeper needs, fears, or desires likely include defeating the Nazis, seeking revenge, or protecting their comrades.

              External Goal: 7

              The protagonist's external goal in this scene is to attend a party or event in the cinema. This goal reflects the immediate circumstances and challenges they're facing in their mission.


              Scene Elements

              Conflict Level: 9

              The conflict level is high in this scene, with the Mexican standoff and the character betrayals creating intense moments.

              Opposition: 7

              The opposition in this scene is moderate, with characters facing challenges related to their missions and identities. The audience is unsure of the outcome, which adds some level of opposition and suspense.

              High Stakes: 9

              The stakes are high in this scene, with the characters' lives and loyalties on the line.

              Story Forward: 9

              The scene moves the story forward by introducing new conflicts and raising the stakes for the characters.

              Unpredictability: 6

              This scene has some unpredictability due to the characters' interactions, but it does not introduce major plot twists or unexpected developments.

              Philosophical Conflict: 0

              There is no evident philosophical conflict in this scene.


              Audience Engagement

              Emotional Impact: 8

              The scene elicits strong emotions, with the tension, surprises, and character revelations evoking a range of feelings.

              Dialogue: 7

              The dialogue is effective in conveying the tension and the character dynamics, but there could be more impactful lines.

              Engagement: 9

              This scene is engaging because it introduces tension and builds suspense through the interactions between characters from different nationalities. The use of multiple languages and accents keeps the audience on their toes and invested in the characters' missions and goals.

              Pacing: 9

              The pacing of this scene is effective in building tension and maintaining the audience's interest. The quick and snappy dialogue, as well as the use of different languages, adds to the dynamic rhythm of the scene.


              Technical Aspect

              Formatting: 8

              The formatting of this scene follows the expected format for a screenplay. It includes proper indentation, line spacing, and formatting for dialogue and action lines.

              Structure: 7

              The structure of this scene follows the expected format for a screenplay. It includes scene headings, character names, dialogue, and descriptive action.


              Critique Overall, this scene in the script flows well and effectively sets up the tension and conflict between the characters. The dialogue is engaging and allows for the personalities of each character to shine through. However, there are a few aspects that could be improved upon:

              1. Clarity of character introductions: While the scene introduces several characters, it can be a bit confusing to keep track of who is who, especially when they have Italian names and are speaking in different languages. It would be helpful to provide clearer descriptions or introductions for each character to avoid any confusion.

              2. Language transitions: The script does a good job of incorporating different languages, but it might benefit from clearer markers or cues when characters transition between languages. This could help readers and viewers better understand the language dynamics between the characters.

              3. Pacing and tension: As a screenwriting expert, I would suggest considering opportunities to heighten the tension in this scene. For example, the moment when Hirschberg grabs Shosanna's wrist could be further emphasized to create a stronger emotional impact.

              Overall, the scene effectively introduces the characters and establishes the tension between them. With a few adjustments to improve character introductions and language transitions, as well as heightened moments of tension, this scene could be even stronger.
              Suggestions Here are some suggestions to improve this scene:

              1. Clarify the character introductions: It's unclear who LT. ALDO, COL. LANDA, and the rest of the characters are. Consider adding brief descriptions or context to introduce them more clearly.

              2. Use more descriptive action lines: The action lines are quite minimal in this scene. Add more detail to describe the characters' movements and expressions to enhance the visual imagery.

              3. Provide more character differentiation: Each character's dialogue is written in their respective language, but it's not easy to distinguish their personalities from their dialogue alone. Consider adding more distinct traits or characteristics to each character to make them memorable.

              4. Add tension and subtext: There is a missed opportunity to add tension and subtext to the interactions between the characters. Explore their motivations, hidden agendas, or conflicts to make the scene more engaging and suspenseful.

              5. Streamline dialogue: Some dialogue exchanges feel repetitive and can be condensed or removed to enhance the pacing. Focus on delivering the most important information while maintaining the natural flow of conversation.

              6. Create smoother transitions: The scene transitions from the lobby to the auditorium abruptly. Consider adding smoother transitions or visual cues to guide the reader smoothly from one location to another.

              7. Consider formatting and pagination: Make sure the scene is properly formatted and paginated to match the rest of the script. This will make it easier for readers to navigate and follow along with the story.

              By implementing these suggestions, you can improve the clarity, tension, and overall impact of the scene in your movie script.



              Scene 37 -  The Betrayal
              BRIDGET
              (ITALIAN)
              Yes, apparently the Führer wishes to commend
              me.
              [135]



              COL. LANDA
              (ITALIAN)
              Wait here a moment. I promise I won’t detain
              her long.

              What are either of them supposed to do, argue?

              Col. Landa goes over to one of the Nazi GUARDS/USHERS and whispers
              in his ear, guesturing toward Aldo. Like he’s saying, leave the boy
              alone, till we come back . . . Or is he?

              Col. Landa limps Bridget away toward Shosanna’s office.

              As Aldo stands in the lobby, more and more people enter the
              auditorium, till it’s only Aldo and the six Nazi guards/ushers
              in the now-vacant lobby.

              INT—SHOSANNA’S OFFICE—NIGHT

              Shosanna’s cinema manager’s office. It’s small, cluttered, and
              dominated by a desk.

              They both enter.

              Col. Landa closes the door behind him and LOCKS IT.

              Bridget notices but says nothing.

              Now the two Germans are alone.

              COL. LANDA
              Have a seat, Fräulein.

              Pointing at one lone chair in front of the desk.

              She lowers herself in the chair.

              Instead of moving around to the other side of the desk,
              opposite her, the S.S. Colonel pulls another little chair over and
              places it in front of the fräulein.

              He sits, their knees almost touching.

              The colonel points to the foot not in the cast.

              COL. LANDA
              (GERMAN)
              Let me see your foot.

              BRIDGET
              (GERMAN)
              I beg your pardon?
              [136]



              Patting his lap.

              COL. LANDA
              Put your foot in my lap.

              BRIDGET
              Colonel, you embarrass me.

              COL. LANDA
              I assure you, Fräulein, my intention
              is not to flirt.

              Patting his lap more with more aggression.

              The nervous fräulein lifts up her strappy dress shoe enclosed foot
              and places it in the colonel’s lap.

              The Colonel very delicately unfastens the thin straps that
              hold the fräulein’s shoe on her foot . . .

              . . . . He removes the shoe . . .

              . . . . Leaving only the fräulein’s bare foot . . .

              THEN . . .

              He removes from his heavy S.S. coat pocket the pretty dress shoe
              the fräulein left behind at La Louisiane . . .

              He slips it on her foot . . .

              . . . . It fits like a glove.

              Bridget knows she’s BUSTED.

              Col. Landa smiles and says in ENGLISH:

              COL. LANDA
              What’s that American expression . . .
              “If the shoe fits . . . you must wear it.”

              He removes her foot from his lap.

              BRIDGET
              (GERMAN)
              What now, Colonel?

              COL. LANDA
              (GERMAN)
              Do you admit your treachery?

              She stares defiant daggers into him.
              [137]



              BRIDGET
              (GERMAN)
              The only think I will admit to is resisting you
              . . .
              (ENGLISH)
              Sons-a-bitches . . .
              (GERMAN)
              . . . to my last breath.

              COL. LANDA
              “Resist to your last breath”?

              SUDDENLY . . .

              Hans LUNGES forward, putting his strong mitts around Bridget
              von Hammersmark’s lily-white, delicate neck, and with all the
              violence of a lion in mid-pounce, SQUEEZES with all his MIGHT.

              Bridget’s face turns tomato RED, as the VEINS in her face
              BULGE and her esophagus is CRUSHED in his GRIP.

              With a violent YANK, he JERKS her TO THE FLOOR. She TUMBLES
              out of the chair, Landa never releasing his GRIP around her throat.
              Now fully on top of her, he BEARS DOWN, SQUEEZING THE VERY LIFE OUT
              OF HER. Everything he has, he brings to bear on
              the elegant lady’s neck.

              Then, to finally finish her off, he begins BANGING THE BACK OF
              HER HEAD, HARD AGAINST THE FLOOR . . .

              BANG!

              BANG!

              BANG!

              She’s dead.

              He releases the grip around her throat. His hands are
              TREMBLING . . .

              He rises.

              Strangling the very life out of somebody with your bare hands
              is the most violent act a human being can commit.

              Also, only humans strangle, opposable thumbs being a quite
              important part of the endeavor. As Hans Landa stands, the
              sheer violence he had to call on to accomplish this task
              still surges through him. He tries to gain control of the trembling
              that is rippling through his body. He takes out a silver S.S. FLASK
              (filled with peach schnapps) and knocks back
              a couple of swigs. He holds his hand out in front of him. The
              TREMBLING is beginning to subside. He picks up the telephone.
              [138]



              Into the phone, in German, he says:

              COL. LANDA
              Inform the Führer the audience has
              taken their seats, and we’re ready
              to begin.

              Step one in Hans’s master plan, done.

              He then dials another number . . .

              INT—LOBBY—NIGHT

              Aldo in the lobby . . .

              WHEN . . .

              . . . . He’s JUMPED by the SIX NAZI USHERS . . .

              He’s THROWN ROUGHLY to the ground face first. Like the modern-
              day Secret Service, within seconds his wrists are handcuffed behind
              his back and he’s searched. They find the BOMB attached to his
              ankle. It’s removed, and a BLACK CLOTH BAG is pulled over his head.
              Then he’s hoisted up and RUSHED out of the building.

              This happens in mere seconds, and quietly too. No one in the
              auditorium is none the wiser . . .

              INT—AUDITORIUM—NIGHT

              . . . including Donowitz and Hirschberg, sitting among the
              master race, waiting for showtime.

              EXT—CINEMA—NIGHT

              The six Nazi soldiers hustle the hooded Aldo down the red
              carpet, then into the alley beside the cinema.

              Aldo’s put up against a wall.

              Inside the black hood, he’s SCREAMING every insulting thing
              about Germany, Germans, German food, German
              shepherd . . . anything.

              COL. LANDA’S VOICE (OS)
              Shut up!

              The faceless black hood does.
              Genres: ["War","Thriller"]

              Summary In this scene, Bridget and Col. Landa are alone in Shosanna's office. Landa asks Bridget to put her foot in his lap and pretends to help her try on her shoe from a previous encounter. However, he reveals that he knows she is a traitor and begins to strangle her. He violently murders her by banging her head against the floor. Landa then composes himself and makes a phone call to inform the start of the movie screening. Meanwhile, Aldo is ambushed by Nazi ushers, handcuffed, and dragged out of the building. Donowitz and Hirschberg, unaware of the events, wait in the auditorium. The scene ends with Aldo being held against a wall in an alley.
              Strengths "The scene effectively builds suspense and tension, delivers a shocking and impactful murder, and progresses the plot and character arcs."
              Weaknesses "Some viewers may find the violence and brutality of the murder scene disturbing or excessive."

              Ratings
              Overall

              Overall: 8

              The scene is highly intense and suspenseful, with a brutal murder and the capture of a main character. The tension is built up effectively and the scene leaves a lasting impact.


              Story Content

              Concept: 7

              The concept of betrayal and the consequences it brings is well-executed in this scene. The brutality of Col. Landa's actions highlights the stakes involved in the characters' actions.

              Plot: 8

              The plot of this scene is well-developed and engaging. The revelation of Bridget's true allegiance and her subsequent murder raises the stakes for the remaining characters. Aldo being captured adds another layer of tension and raises the question of whether the plan will succeed.

              Originality: 6

              This scene is somewhat original in its portrayal of the power dynamics between Bridget and Colonel Landa, as well as the brutal violence depicted. The actions and dialogue of the characters feel authentic and contribute to the authenticity of the scene.


              Character Development

              Characters: 9

              Col. Landa's character is portrayed as ruthless and calculating, while Bridget shows defiance and courage even in the face of death. The scene effectively highlights their contrasting personalities. Aldo's capture adds to his character arc as a determined leader.

              Character Changes: 8

              Bridget's character undergoes a significant change as she reveals her true allegiance and ultimately pays the price with her life. Aldo's character is also affected as he is captured and faces an uncertain future.

              Internal Goal: 8

              Bridget's internal goal in this scene is to maintain her cover and resist Colonel Landa's pressure, despite the growing danger. This reflects her deeper need to protect herself and her comrades, as well as her fear of being discovered and the consequences that would follow.

              External Goal: 8

              Bridget's external goal in this scene is to deceive Colonel Landa and avoid being implicated as a spy. This reflects the immediate circumstances and challenges she is facing in the Nazi-occupied territory.


              Scene Elements

              Conflict Level: 9

              The conflict in this scene is intense and multi-layered. There is a physical confrontation between Col. Landa and Bridget, a power struggle between Landa and the Basterds, and the capture of Aldo. The stakes are high as lives hang in the balance.

              Opposition: 9

              The opposition in this scene is strong, as Bridget tries to resist Colonel Landa's pressure and maintain her cover, while he exerts his power and tries to uncover her true intentions. The audience does not know how the encounter will go, adding to the level of opposition and tension.

              High Stakes: 10

              The stakes are extremely high in this scene, with characters facing death, betrayal, and capture. The outcome of the events can have a significant impact on the overall mission and the characters' survival.

              Story Forward: 8

              The scene moves the story forward by eliminating one of the traitors and capturing another key character. It raises the stakes for the remaining characters and adds a sense of urgency to their mission.

              Unpredictability: 7

              This scene is somewhat unpredictable due to the sudden act of violence by Colonel Landa against Bridget. The audience may not have expected this turn of events, adding to the tension and unpredictability of the scene.

              Philosophical Conflict: 7

              The philosophical conflict evident in this scene is the clash between collaboration and resistance. Colonel Landa represents the oppressive Nazi regime and its collaborators, while Bridget represents the resistance fighters. This challenges Bridget's beliefs and values, as she is torn between survival and staying true to her cause.


              Audience Engagement

              Emotional Impact: 9

              The scene elicits strong emotions through its brutal murder, suspenseful moments, and the capture of a main character. The audience is likely to feel a mixture of shock, tension, and anticipation for what will happen next.

              Dialogue: 7

              The dialogue in this scene is concise and impactful. Col. Landa's calm yet menacing lines create a sense of dread, while Bridget's defiant remarks showcase her strength. The minimal dialogue between Aldo and the ushers adds to the tension.

              Engagement: 9

              This scene is engaging because of its high stakes, the tension between the characters, and the sudden outbreak of violence. It keeps readers on the edge of their seats, wondering how the confrontation will unfold.

              Pacing: 8

              The pacing and rhythm of the scene effectively contribute to its effectiveness by building tension gradually and culminating in the climactic moment of violence. The quick and concise descriptions and dialogue keep the scene moving at a steady pace.


              Technical Aspect

              Formatting: 9

              The formatting of this scene follows the expected format for its genre, with clear scene headings, character actions, and dialogue. It effectively guides the reader and conveys the visual elements.

              Structure: 8

              The structure of this scene follows the expected format for its genre, effectively delivering the tension and conflict between the characters. It progresses naturally and builds up to the climax of Colonel Landa strangling Bridget.


              Critique
              Suggestions To improve this scene, here are a few suggestions:

              1. Clarify the characters' objectives: It is not clear what Bridget's objective is in this scene. Is she trying to hide her treachery or is she trying to get information from Colonel Landa? Adding more clarity to her objective can make her actions and dialogue more purposeful.

              2. Increase tension and conflict: Right now, there is very little tension and conflict in the scene. Consider adding more back-and-forth dialogue between Bridget and Colonel Landa, where they challenge and manipulate each other. This will make the scene more engaging and dynamic.

              3. Show character emotions: In the scene, it would be helpful to show the emotions and reactions of the characters. For example, describe Bridget's nervousness, her realization that she's been busted, or Colonel Landa's satisfaction in catching her. This will add depth to the characters and increase the audience's investment in their conflict.

              4. Use visuals to enhance the scene: Rather than relying on dialogue alone, incorporate visuals to convey the tension and power dynamics between the characters. For example, describe the close proximity of their knees, the intense gaze between them, or the tightening grip on Bridget's throat. These visual details will make the scene more vivid and impactful.

              5. Consider pacing and timing: The scene currently moves very quickly, with Bridget being killed almost immediately after being caught. Consider slowing down the pacing and building more suspense before her death. This will give the audience time to process and react to the shocking event.

              Overall, by clarifying objectives, increasing tension, showing character emotions, using visuals, and adjusting pacing, this scene can be improved to make it more compelling and impactful for the audience.



              Scene 38 -  The Betrayal
              Col. Landa, now standing directly in front of his hooded prisoner,
              says in ENGLISH:

              COL. LANDA
              As Stanley said to Livingstone: Lieutenant Aldo
              Raine, I presume?
              [139]



              LT. ALDO
              Hans Landa?

              COL. LANDA
              You’ve had a nice long run, Aldo.
              Alas, you’re now in the hands of the S.S. My
              hands to be exact. And they’ve been waiting a
              long time to touch you.

              He reaches out with his finger and lightly touches Aldo’s
              face right in the middle of the hood.

              Aldo’s head VIOLENTLY FLINCHES.

              COL. LANDA
              Caught ya flinching.

              In German, he orders the men to put Aldo in the back of a truck.

              Aldo, bound and bagged, is put in the truck. Also in the
              truck is Utivich, wearing a makeshift chauffeur’s uniform,
              bound and bagged like the lieutenant.

              The truck drives off.

              Col. Landa turns around and SEES FROM A DISTANCE Hitler’s motorcade
              pull up to the cinema. Then the Führer, Goebbels, Francesca, and
              the rest of the entourage make their way down
              the red carpet into the cinema.

              Landa smiles.

              EXT TRUCK (MOVING)—NIGHT

              We see the truck leaving the city of Paris, under the veil of
              night.

              We also seem to be leaving the drama of Operation Kino.

              INT—TRUCK (MOVING)—NIGHT

              The two hooded prisoners bounce along in the back of the
              truck.

              Utivich is crying inside his hood.

              LT. ALDO
              Utivich?

              UTIVICH
              Is that you, Lieutenant?

              LT. ALDO
              Yep.


              UTIVICH
              Do you know what happened to Donny? Hirschberg?
              The woman?
              [140]



              UTIVICH
              Do you know what happened to Donny? Hirschberg?
              The woman?

              LT. ALDO
              No, I do not.

              UTIVICH
              Lieutenant, sorry I’m crying.

              LT. ALDO
              Nothin’ to be sorry about, son.
              This bag get to anyone.

              UTIVICH
              Not exactly John Wayne, am I?

              LT. ALDO
              John Wayne’s a pampered movie star.
              He bursts into tears if his cook
              busts his yoke at breakfast. Just
              try puttin’ a bag over his head and
              hear what kinda sounds he makes.

              Utivich giggles through the tears.

              LT. ALDO
              I just want you to know, son, I was
              real proud of you tonight. Learnin’
              how to drive overnight. Driving in
              that limo line. You was in the hot
              seat, son, and you stood up real good.

              Utivich cries LOUDER.

              Aldo takes his foot, finds Utivich’s foot, and places his foot
              on top.

              The TOUCH has a slightly calming effect on Utivich.

              In the darkness, Utivich has reclaimed his dignity.

              EXT—COUNTRY TAVERN—NIGHT

              The truck pulls up to a small tavern outside of Paris (not La
              Louisaiane).

              The two hooded prisoners are walked inside the establishment.

              INT—COUNTRY TAVERN—NIGHT

              The hooded men are led into the closed for business, but open
              for something else rustic tavern.
              [141]



              The Nazi guards unlock the handcuffs, then sit them down in chairs.

              Then, simultaneously, the hoods are YANKED OFF.

              The two prisoners are seated at a table, in what they can now
              see is a rustic tavern. On the table is one telephone, one
              bottle of Chianti, and three glasses. And on the opposite end
              of the table sits Col. Hans Landa.

              A NAZI SOLDIER sits posted at an impressive-looking two-way
              radio set up in the tavern.

              Col. Landa starts in right away at the two baffled, discombobulated
              American soldiers.

              They will only speak ENGLISH in the scene.

              COL. LANDA
              Italian? Really?
              (BEAT)
              What could you have possibly been thinking?

              LT. ALDO
              Well, I speak a little Italian—

              COL. LANDA
              I speak a little Tagalog, but I
              wouldn’t begin to presume I could
              pass for Filipino. Don’t get me
              wrong, I understand you were in a pickle, what
              with you losing your Germans. And I have
              nothing but admiration for improvisation.
              Still . . . Chico Marx is more
              convincing. If the three of you had
              shown up at the premiere dressed
              in woman’s attire, it would have been
              more convincing.

              Landa’s eyes go to the two Nazi guards behind the prisoners.

              COL. LANDA
              (GERMAN)
              You may leave us. But stay alert outside.

              They exit, leaving the colonel, the lieutenant, the
              private, and a German radio man in the corner.
              [142]



              COL. LANDA
              So you’re Aldo the Apache?

              LT. ALDO
              So you’re the Jew Hunter?

              COL. LANDA
              Jew Hunter (pfuit). I’m a detective.
              A damn good detective. Finding
              people is my specialty. So naturally
              I worked for the Nazis finding people.
              And yes, some of them were Jews.
              But Jew Hunter? Just the name that stuck.

              UTIVICH
              Well, you do hafta admit, it is
              catchy.

              COL. LANDA
              Do you control the nicknames your enemies
              bestow on you? Aldo the
              Apache and the Little Man?

              UTIVICH
              What do you mean, the Little Man?

              COL. LANDA
              The German’s nickname for you.

              UTIVICH
              The German’s nickname for me is the Little Man?

              COL. LANDA
              Or the “Little One”, either one means you.
              And as if to make my point, I’m a
              little surprised how tall you
              are in real life. I mean, you’re a
              little fellow. But not circus-midget
              little, as your reputation would
              suggest.

              LT. ALDO
              Where are my men? Where is Bridget
              von Hammersmark?
              Genres: ["Suspense","War","Drama"]

              Summary In this scene, Col. Landa confronts Lt. Aldo and Utivich, revealing that he knows they are not Italian but American soldiers. He mocks their attempt to pass as Italians and discusses his reputation as a detective. The scene ends with Lt. Aldo demanding to know the whereabouts of his comrades.
              Strengths
              • Intense tension
              • Strong performances
              • Memorable dialogue
              Weaknesses
              • Limited character development
              • Lack of resolution

              Ratings
              Overall

              Overall: 10

              The scene is highly suspenseful and impactful, with strong performances from the actors and intense moments of violence.


              Story Content

              Concept: 8

              The concept of the scene, showcasing the betrayal of Bridget and the capture of Lt. Aldo, is executed effectively and creates a sense of tension and urgency.

              Plot: 9

              The plot development in this scene is significant, as it reveals Bridget's true allegiance, Col. Landa's knowledge of the deception, and the capture of Lt. Aldo. These events move the story closer to the climax.

              Originality: 7

              The scene presents a unique situation where the protagonist, who is captured by the S.S., engages in a tense conversation with Col. Landa. The dialogue feels authentic and adds depth to the characters.


              Character Development

              Characters: 9

              The characters are well-developed and their actions and dialogue reveal their motivations and personalities. Col. Landa's menace and Lt. Aldo's desperation create strong emotional impact.

              Character Changes: 6

              The characters do not undergo significant changes in this scene, as it primarily focuses on the revelation of information and the power dynamics between them.

              Internal Goal: 8

              The protagonist's internal goal in this scene is to stay composed and maintain control despite being captured by the S.S. His deeper need is to protect his own life and the lives of his fellow soldiers.

              External Goal: 8

              The protagonist's external goal in this scene is to gather information and find out what happened to his men and Bridget von Hammersmark.


              Scene Elements

              Conflict Level: 9

              The conflict in the scene is high, with Lt. Aldo and Utivich realizing they are at a disadvantage and Col. Landa asserting his power and dominance over them.

              Opposition: 8

              The opposition in this scene is strong, as the protagonist is captured by the S.S. and faces interrogation from Col. Landa. The outcome of the scene is unpredictable and the reader is unsure how the protagonist will navigate the situation.

              High Stakes: 10

              The stakes are high in the scene, as the characters' lives are at risk, and the fate of the mission and their comrades hangs in the balance.

              Story Forward: 9

              The scene moves the story forward by revealing crucial information and setting up the next phase of the plot, with Lt. Aldo captured and Bridget's allegiance exposed.

              Unpredictability: 7

              This scene has a moderate level of unpredictability. The dialogue and actions of the characters keep the reader guessing about the outcome, especially regarding the fate of the protagonist and his men.

              Philosophical Conflict: 7

              There is a philosophical conflict evident in this scene. It challenges the protagonist's belief in the power of improvisation and raises questions about the limits of deception.


              Audience Engagement

              Emotional Impact: 10

              The scene is emotionally impactful, evoking fear, tension, and desperation in the characters and the audience.

              Dialogue: 8

              The dialogue in the scene is sharp and engaging, with Col. Landa's mocking and Lt. Aldo's defiance creating tension between the characters.

              Engagement: 9

              This scene is engaging because it builds tension and suspense through the dialogue and the interactions between the characters. The reader is invested in finding out what happens next.

              Pacing: 8

              The pacing and rhythm of the scene are effective in building tension and maintaining the reader's interest. The dialogue is concise and the action moves quickly.


              Technical Aspect

              Formatting: 8

              The scene follows the expected formatting for its genre. The scene headings, action lines, and dialogue are properly formatted and easy to follow.

              Structure: 9

              The scene follows the expected format for its genre. It introduces the setting, the characters, and their motivations clearly, and presents a clear conflict.


              Critique The scene is well-written and engages the reader with its dialogue and tension. The use of different languages adds depth to the interaction between the characters. Here are a few suggestions for improvement:

              1. Visual Set-up: Consider adding more visual description at the beginning of the scene to set the location and provide a clearer picture for the reader.

              2. Characterization: Explore opportunities to further develop the characters' personalities and motivations through their actions, reactions, and dialogue. This can enhance the depth of the scene.

              3. Pacing: Consider tightening the scene by removing some repetition and unnecessary dialogue tags. This will help maintain the tension and keep the readers engaged.

              4. Visual cues: Consider adding more visual cues and actions to enhance the dramatic impact and create a more dynamic scene. This can include gestures, facial expressions, and body language.

              Overall, the scene effectively conveys the interaction between the characters and sets up further conflict and tension. With some minor adjustments, it can be even more impactful and engaging.
              Suggestions One suggestion to improve this scene would be to add more tension and suspense. This can be achieved by pacing the dialogue and adding dramatic pauses. For example, when Col. Landa says "Caught ya flinching," there could be a pause before he gives the order to put Aldo in the truck, building anticipation for what will happen next.

              Additionally, you could consider adding more physical action or gestures to enhance the visual aspect of the scene. For example, when Aldo's head violently flinches, you could describe how he tenses up or pulls away from Col. Landa's touch, adding to the tension between them.

              Another suggestion would be to explore the characters' emotions and motivations more deeply. This can be done through their dialogue and reactions to the situation. For instance, when Utivich is crying, you can describe his facial expressions, body language, and tone of voice to convey his fear and vulnerability. Similarly, when Aldo reassures Utivich and talks about his pride in him, you can delve into their emotional connection and highlight the bond between them.

              Furthermore, you could consider adding more visual descriptions of the surroundings or props in the scene to enhance the atmosphere and immerse the audience. For example, when the prisoners are led into the rustic tavern, you can describe the dim lighting, the smell of alcohol, and the creaking sound of the chairs they sit on, creating a more immersive and vivid setting.

              Finally, you could explore the power dynamics between the characters more explicitly. This can be done through their dialogue, actions, and body language. For example, when Col. Landa questions the prisoners about their disguises, you can emphasize his dominance and intelligence through his confident tone and dismissive gestures. In contrast, the prisoners can show their defiance or fear in their reactions, highlighting the power imbalance between them.

              Overall, by adding tension, exploring emotions, enhancing visuals, and refining power dynamics, you can elevate the impact and effectiveness of this scene in the movie script.



              Scene 39 -  The Negotiation
              COL. LANDA
              Bridget von Hammersmark. Oh, I’m sure she’s in
              whatever, big bubbling
              cesspool in hell the devil reserves
              for traitors of her ilk.
              [143]



              COL. LANDA
              (CON’T)
              Well, let’s just say she got what
              she deserved. And when you purchase
              friends like Bridget von Hammersmark,
              you get what you pay for.
              Now as far as your paisanos
              Sergeant Donowitz and Private Hirschberg—

              LT. ALDO
              How do you know our names?

              COL. LANDA
              Lt. Aldo, if you don’t think I wouldn’t
              interrogate every single one of your
              swastika-marked survivors . . . ?
              We simply aren’t operating on the
              level of mutual respect I assumed.
              Now, back to the whereabouts of your
              two Italian saboteurs. At this
              moment, both Hirschberg
              and Donowitz should be sitting in the
              very seats we left them in. Seats
              0023 and 0024, if my memory serves.
              Explosives, still around their ankles,
              still ready to explode.
              And your mission, some
              would call it a terrorist plot, as of
              this moment is still a go.

              The two basterds don’t believe this. It can’t be true.

              LT. ALDO
              That’s a pretty exciting story.
              What’s next, Eliza on the ice?

              COL. LANDA
              However, all I have to do is
              pick up that phone right there,
              inform the cinema, and your plans
              kaput.

              LT. ALDO
              IF they’re still there, and IF they’re still
              alive, and that’s one big IF, there ain’t no
              way you gonna take
              them boys without settin’ off them bombs.
              [144]



              COL. LANDA
              I have no doubt, and yes, some
              Germans will die, and yes, it will
              ruin the evening, and yes, Goebbels
              will be very very very mad at you
              for what you’ve done to his big night. But you
              won’t get Hitler, you won’t
              get Goebbels, you won’t get Goering,
              and you won’t get Boormann. And you
              need all four to end the war.
              (pause)
              But if I don’t pick up that phone
              right there, you may very well get
              all four. And if you get all four,
              you end the war . . . tonight.

              The Nazi colonel lifts up the bottle of Chianti and fills
              three glasses. As he pours, he says:

              COL. LANDA
              So, gentlemen, let’s discuss the prospect of
              ending the war . . . tonight.

              All three have their Chianti filled glasses.

              COL. LANDA
              So the way I see it, since Hitler’s death, or
              possible rescue, rests
              solely on my reaction . . . If I do nothing . .
              . It’s as if I’m causing his death, even more
              than yourselves.
              Would you agree?

              LT. ALDO
              I guess so.

              COL. LANDA
              How about you, Utivich?

              UTIVICH
              I guess so too.

              COL. LANDA
              Good, we more or less all agree. Gentlemen, I
              have no intention of killing Hitler, and
              killing Goebbels, and killing Goering, and
              killing Boormann, not to mention winning the
              war single-handedly for the Allies,
              only later to find myself standing
              before a Jewish tribunal.
              [145]



              Now they get it.

              COL. LANDA
              If you want to win the war, tonight,
              we have to make a deal.

              LT. ALDO
              What kinda deal?

              COL. LANDA
              The kind you wouldn’t have the
              authority to make. However, I’m sure this
              mission of yours has a
              commanding officer? A general, I’m betting. For
              . . .
              (thinking)
              . . . . O.S.S. would be my guess.

              Aldo’s eyebrows reveal that was a good guess.

              COL. LANDA
              Oooh, that’s a bingo. Is that the
              way you say it, that’s a bingo?

              LT. ALDO
              You just say, bingo.

              COL. LANDA
              Bingo! How fun. But I digress, where
              were we? Oh, yes, make a deal. Over there is a
              very capable two-way
              radio. And sitting behind it is a
              more than capable radio operator
              named Herrman. Get me somebody on
              the other end of that radio with the power of
              the pen to authorize my—
              let’s call it, the terms of my conditional
              surrender, if that tastes better going down.

              BACK TO THE PREMIER

              Shosanna is in the booth. She brings down the lights.

              In the packed, excited auditorium, the house lights go down.

              CU CURTAIN SWITCH. She flips it.

              In the auditorium, the RED VELVET CURTAINS part.

              Shosanna throws the lever on the first projector.
              [146]



              The PROJECTOR BULB goes HOT WHITE, PROJECTING A BEAM . . .

              FILM REELS rotate . . .

              35mm FILM moves through the projector’s film gate . . .

              The opening seal of a film by the THIRD REICH flickers on the
              SCREEN . . .

              Goebbels and Francesca watch . . .

              Hitler watches . . .

              Fredrick watches . . .

              Donowitz and Hirschberg watch . . .

              Shosanna, in the booth, watches through the little window . . .

              The CAMERA PANS OFF of Shosanna to the clearly marked film
              can, REEL 4. The SURPRISE REEL.

              BACK TO LANDA AND THE BASTERDS
              Landa, with radio headphones over his ears and a microphone
              in his hand, talks to the UNSEEN/UNHEARD American brass on the
              other end.
              Genres: ["War","Thriller"]

              Summary Col. Landa confronts Lt. Aldo and Utivich, revealing that he knows they are not Italian but American soldiers. He mocks their attempt to pass as Italians and discusses his reputation as a detective. Lt. Aldo demands to know the whereabouts of his comrades. Meanwhile, Shosanna prepares to start the movie screening in the auditorium.
              Strengths
              • Intense dialogue
              • Building tension
              • Suspenseful atmosphere
              Weaknesses
              • Limited emotional depth

              Ratings
              Overall

              Overall: 9

              The scene is highly engaging and captures the suspense and desperation of the characters involved. The dialogue and the negotiation between the two sides is captivating.


              Story Content

              Concept: 8

              The concept of a high-stakes negotiation and a suspenseful movie screening adds depth and intensity to the scene.

              Plot: 9

              The plot progresses significantly as Lt. Aldo learns that Col. Landa knows their true identities and the hunt for their comrades continues. The negotiation between the two sides adds further tension and raises the stakes.

              Originality: 8

              The level of originality in this scene is moderate. While the overall World War II setting and the negotiation scene are familiar, the specific dialogue and character interactions bring a fresh and engaging perspective. The authenticity of the characters' actions and dialogue also adds to the originality.


              Character Development

              Characters: 8

              The characters are well-developed and their actions and dialogue contribute to the tension and conflict in the scene.

              Character Changes: 7

              While there are no significant character changes in this scene, the interactions between Col. Landa and Lt. Aldo reveal their motivations and goals.

              Internal Goal: 7

              The protagonist's internal goal in this scene is to find a way to end the war effectively and avoid standing before a Jewish tribunal. This reflects his desire to achieve a significant outcome without betraying his own beliefs or values.

              External Goal: 9

              The protagonist's external goal in this scene is to negotiate a deal with the basterds in order to ensure the success of his mission and prevent the deaths of important Nazi figures.


              Scene Elements

              Conflict Level: 9

              The scene is filled with conflict as Lt. Aldo and Col. Landa engage in a high-stakes negotiation while both sides try to gain the upper hand.

              Opposition: 8

              The opposition in this scene is strong, with the basterds questioning the credibility of the antagonist and the protagonist trying to convince them. The audience is kept in suspense as they wonder how the negotiations will unfold.

              High Stakes: 9

              The negotiation between the two sides carries high stakes as the outcome could determine the success or failure of their respective missions.

              Story Forward: 9

              The scene moves the story forward by advancing the plot, revealing new information, and raising the stakes.

              Unpredictability: 10

              This scene is unpredictable because it introduces unexpected twists and turns in the negotiations. The audience doesn't know how the basterds will react or how the protagonist will handle the situation, creating a sense of suspense and excitement.

              Philosophical Conflict: 8

              The philosophical conflict in this scene revolves around the idea of achieving a significant outcome without compromising one's own principles or facing severe consequences. The protagonist is torn between his duty and the potential ethical issues that come with it.


              Audience Engagement

              Emotional Impact: 8

              The scene evokes tension, suspense, and desperation, creating an emotional impact on the audience.

              Dialogue: 9

              The dialogue is sharp, engaging, and intensifies the conflict between Col. Landa and Lt. Aldo. It reveals their motivations and adds depth to their characters.

              Engagement: 9

              This scene is engaging because of the high stakes, the witty dialogue, and the tension between the characters. The negotiations and the potential consequences add to the suspense and keep the audience invested.

              Pacing: 8

              The pacing of the scene contributes to its effectiveness by creating a sense of urgency and suspense. The dialogue exchanges and the reactions of the characters are well-timed, keeping the audience engaged.


              Technical Aspect

              Formatting: 9

              The formatting of this scene follows the expected format for its genre, with proper scene headings, character names, and dialogue formatting. The descriptions and actions are clear and concise.

              Structure: 8

              The structure of this scene follows the expected format for its genre, with clear dialogue exchanges and scene descriptions. It effectively conveys the tension and negotiations between the characters.


              Critique Overall, this scene is well-written and effectively builds tension between the characters. Here are some specific critiques:

              1. Dialogue: The dialogue in this scene is strong and helps to establish the power dynamics between Col. Landa and the Basterds. It effectively conveys Landa's manipulative nature and the Basterds' skepticism. However, there are a few points where the dialogue could be tightened up to make it more concise and impactful.

              2. Description: The scene descriptions provide clear and concise visual cues, allowing the reader to easily envision the action. However, some of the descriptions could be expanded upon for better clarity and to enhance the emotional impact. For example, when Shosanna brings down the lights and flips the curtain switch, the emphasis on her actions could be further emphasized to highlight the tension and significance of what she's doing.

              3. Pacing: The pacing of the scene is generally good, with the tension building steadily as the characters discuss their options. However, there are a few areas where the scene could benefit from a slightly stronger sense of urgency and higher stakes. This could be achieved by tightening up the dialogue and description in certain moments.

              4. Characterization: The characters are well-developed and their motives and personalities come through clearly in the dialogue and actions. Col. Landa is portrayed as cunning and manipulative, while the Basterds are skeptical and defiant. These characterizations could be further explored and expanded upon for a deeper understanding of their motivations and conflicts.

              Overall, this scene effectively builds tension and advances the plot. With a few minor adjustments, it can become an even stronger and more impactful moment in the screenplay.
              Suggestions Here are some suggestions to improve the scene:

              1. Improve the dialogue flow: The dialogue in this scene feels a bit choppy and could benefit from smoother transitions. Consider rephrasing some lines to make them more conversational.

              2. Clarify character motivations: It's important to clearly establish the motivations of each character in the scene. What is driving Col. Landa to make this deal? Why are Lt. Aldo and his team hesitant to trust him? Clarifying these motivations will add depth to the interactions between the characters.

              3. Show more character reactions: During the dialogue, it would be beneficial to show the characters' reactions to what is being said. Show their skepticism, confusion, or any other emotions they might be feeling. This will make the scene more engaging and help the audience connect with the characters.

              4. Build tension: The stakes of the scene are high, as the entire war could be impacted by the characters' decisions. Look for opportunities to intensify the tension. You could add more suspenseful pauses, increase the urgency in Col. Landa's tone, or amplify the characters' doubts and fears.

              5. Consider visual storytelling: This scene has a lot of dialogue, but it could benefit from incorporating visual elements to enhance storytelling. Think about how you can use cinematography and imagery to reinforce the themes and emotions in the scene. For example, you could use close-ups to capture the characters' expressions or create visual contrasts between Landa's calm demeanor and the tense situation.

              6. Streamline the action sequences: The scene includes descriptions of the film projector and the film reels. While these details are important, consider condensing the action sequences to keep the pacing consistent and the focus on the dialogue and character interactions.

              By implementing these suggestions, you can enhance the emotional impact, pacing, and overall effectiveness of the scene.



              Scene 40 -  Colonel Landa's Ultimatum
              COL. LANDA
              . . . So, when the military history of this
              night is written, it will be recorded that I
              was part of
              Operation Kino from the very
              beginning, as a double agent.
              Anything I’ve done in my guise as an S.S.
              colonel was sanctioned by the O.S.S., as a
              necessary evil to
              establish my cover with the Germans.
              And it was my placement of
              Lieutenant Raine’s dynamite in Hitler and
              Goebbels’s opera box that assured their demise.
              By the way, that last
              part is actually true.

              FLASH ON
              Landa placing bomb in Hitler and Goebbels’s opera box.

              BACK TO LANDA

              COL. LANDA
              I want my full military pension and benefits
              under my proper rank.
              I want to receive the Congressional
              Medal of Honor for my invaluable
              assistance in the toppling of the Third
              Reich.
              [147]



              He looks over and sees Aldo and Utivich watching the one-sided
              conversation.

              COL. LANDA
              In fact, I want all the members of “Operation
              Kino” to receive the Congressional Medal of
              Honor. Full citizenship for myself—but that
              goes without saying. And I would
              like the United States of America to purchase
              property for me on
              Nantucket island, as a reward for
              all the countless lives I’ve saved
              by bringing the tyranny of the
              National Socialist Party to a
              swifter than imagined end. Do you
              have all that, sir?
              (pause)
              I look forward to seeing you face to face as
              well, sir.
              (pause)
              He’s right here.

              The colonel hands the headphones and microphone to Aldo.

              LT. ALDO
              Yes, sir?

              We HEAR the VOICE on the other end of the radio give Aldo his
              orders:

              RADIO VOICE (OS)
              Colonel Landa will put you and
              Private Utivich in a truck as
              prisoners. Then he and his radio operator will
              get in the truck,
              drive to our lines. Upon crossing
              our lines, Colonel Landa and his
              man will surrender to you. You will
              then take over driving of the truck and bring
              them straight to me for
              debriefing. Is that clear, Lieutenant?

              LT. ALDO
              Yes, sir.

              The conversation is over. He puts the radio down.

              The three men look at one another.

              Landa picks up his wine.
              [148]



              COL. LANDA
              So I suppose the only thing left to
              do is lift a glass and toast to
              Donowitz and Hirschberg’s success.
              You too, Herrman, come over here.

              The four men, Col. Hans Landa, Lt. Aldo Raine, Pfc. Smithson
              Utivich, and Herrman, lift up four glasses of wine.

              COL. LANDA
              Gentlemen, to history, and its witnesses.

              CHEERS.

              BACK TO THE PREMIERE

              WE CUT TO THE B/W FILM ON SCREEN.
              Fredrick Zoller, playing himself, is in an ornamental tower in
              a Russian village, picking off RUSSIAN SOLDIERS below.

              A RUSSIAN GENERAL KCHOVLANSKEY
              peering at the German private through binoculars. He lowers
              the long-range glasses and confers with one of his OFFICERS.

              GEN. KCHOVLANSKEY
              (RUSSIAN)
              What’s the death toll?

              OFFICER
              (RUSSIAN)
              47, so far.

              WE HEAR A SHOT.

              OFFICER
              (RUSSIAN)
              48. General, I implore you, we must destroy
              that tower!

              GEN. KCHOVLANSKEY
              (RUSSIAN)
              That tower is one of the oldest and
              most beautiful structures in Russia.
              I won’t be responsible for turning a thousand
              years of history into dust!

              A BRAVE RUSSIAN SOLDIER tries to run between two buildings.

              Zoller gets him.

              Then proceeds to pick him apart, one bullet at a time.
              [149]



              SHOSANNA IN THE PROJECTION BOOTH
              She removes “REEL 4” (the Special Shosanna Reel) and prepares
              it on the second projector. Reel 3, on the first projector, playing
              now, is halfway through. In a few short minutes, it’s going to be
              show time.

              Marcel says to Shosanna in FRENCH, SUBTITLED IN ENGLISH:

              MARCEL
              It’s time. I should go lock the auditorium and
              take my place behind the screen.

              This is the last time they will ever see each other—too much
              to say. He holds her in his arms and lays a one kiss before I
              die wet one on her.

              DONOWITZ AND HIRSCHBERG
              sit in their seats watching the movie, surrounded by DRESS-UNIFORM
              NAZIS. They’ve developed a dopey way of communicating with each
              other in this hostile environment.

              Basically, speaking English as if it were gibberish Italian
              they say English words, only adding an “I” or “A” or “O”
              to the end of it. And saying it in an exaggerated Italian
              accent, complete with pantomimes.

              Donowitz leans into Hirschberg and says in a whisper:

              They speak in ITALIAN-ISH SUBTITLED IN ENGLISH:

              SGT. DONOWITZ
              (ITALIAN-ISH)
              I-a go-a toilet-a, set-ta Boom-a.
              (I go to the toilet and set the bomb.)
              When-a I-a go-a, you-a set-ta Boom-a.
              (When I go, you set your bomb.)

              Hirschberg indicates/pantomimes that he can’t set his bomb
              surrounded by all these Nazis.

              Donowitz pantomimes crossing his legs and setting the bomb on his
              ankle in his seat. Then getting up and dropping it in the back of
              the auditorium in the dark.

              Hirschberg doesn’t get it.

              HIRSCHBER
              What-a?
              (What?)

              Donny pantomimes again, more exaggerated, and with less
              patience.
              [150]



              HIRSCHBERG
              Affirm-ato, affirm-ato
              (Affirmative, affirmative.)
              Genres: ["War","Thriller"]

              Summary Col. Landa reveals his role as a double agent and demands recognition and rewards for his actions. Lt. Aldo receives instructions to transport Landa and Utivich as prisoners. Meanwhile, Shosanna prepares for the movie screening. Donowitz and Hirschberg communicate covertly about setting bombs in the auditorium.
              Strengths
              • Intense and suspenseful atmosphere
              • Revealing hidden motives and plans
              • Building tension and anticipation
              Weaknesses
              • Limited character development
              • Lack of emotional depth in dialogue

              Ratings
              Overall

              Overall: 9

              The scene is highly intense and suspenseful, with significant plot developments and conflict.


              Story Content

              Concept: 8

              The concept of revealing hidden intentions and secret plans adds depth and intrigue to the scene.

              Plot: 9

              The plot advances significantly with the revelation of Landa's true identity and plans, as well as the instructions given to Lt. Aldo.

              Originality: 6

              The level of originality in this scene is moderate. While it follows familiar tropes and themes of war films, such as espionage and moral dilemmas, it adds fresh elements through the dialogue exchanges and the unique context of World War II.


              Character Development

              Characters: 8

              The characters' actions and dialogue contribute to the tension and conflict in the scene.

              Character Changes: 6

              There is limited character development in this scene, primarily focused on Landa's reveal and Aldo's determination.

              Internal Goal: 7

              The protagonist's internal goal in this scene is to secure his future and ensure he receives recognition and benefits for his assistance in toppling the Third Reich. This goal reflects his desire for validation, honor, and security.

              External Goal: 9

              The protagonist's external goal in this scene is to carry out his orders to bring Lieutenant Raine and Private Utivich as prisoners across enemy lines and deliver them for debriefing. This goal reflects the immediate circumstances and challenges he's facing as a double agent.


              Scene Elements

              Conflict Level: 9

              The scene is filled with conflict, both physical and psychological, as characters navigate tense situations and hidden agendas.

              Opposition: 9

              The opposition in this scene is strong as the protagonist faces conflicting loyalties and the challenge of carrying out his orders while maintaining his cover. The audience is unsure of how the situation will unfold.

              High Stakes: 10

              The stakes are extremely high, with lives on the line and the success of the mission hanging in the balance.

              Story Forward: 9

              The scene significantly advances the story by revealing crucial information and setting up the next phase of the plan.

              Unpredictability: 7

              This scene is unpredictable because it presents unexpected twists and turns in the protagonist's actions and intentions. It keeps the audience guessing about his true motivations and loyalties.

              Philosophical Conflict: 8

              There is a philosophical conflict evident in this scene between the protagonist and his actions as a double agent. It challenges his beliefs, values, and worldview as he navigates the ethical implications of his role in the war.


              Audience Engagement

              Emotional Impact: 8

              The scene evokes strong emotions of tension, suspense, and anticipation.

              Dialogue: 7

              The dialogue is impactful and serves to convey important information and motivations.

              Engagement: 9

              This scene is engaging because it introduces high stakes, conflict, and strong character dynamics. The dialogue is intense and the actions keep the audience invested in the outcome.

              Pacing: 8

              The pacing and rhythm of the scene contribute to its effectiveness by creating suspense and maintaining tension. The dialogue exchanges are well-timed, and the scene direction adds to the overall pacing.


              Technical Aspect

              Formatting: 9

              The formatting of this scene follows the expected format for its genre. The dialogue is properly formatted, scene direction is clear and concise, and there is a good balance between narrative description and dialogue.

              Structure: 8

              The structure of this scene follows the expected format for its genre. There is a clear setup of the conflict, development of the character dynamics, and a resolution that sets up future events.


              Critique Overall, the scene is well-written and effectively builds tension. The dialogue between Col. Landa and Lt. Aldo is engaging and reveals important information about the characters and their motivations. The inclusion of the flashback to Landa placing the bomb adds visual interest and reinforces the importance of his actions. The scene also effectively incorporates multiple characters and their individual goals.

              However, one potential critique is that the scene could benefit from more subtext and nuance. The dialogue, while informative, feels a bit on-the-nose at times, spelling out the characters' intentions and desires too explicitly. Adding more layers of subtlety and complexity to the dialogue could enhance the overall impact of the scene.

              Additionally, the transition to the premiere and the inclusion of the black and white film feels slightly disjointed and may need further clarification and integration into the overall narrative. Consider revising and refining these elements to ensure a seamless flow between scenes.

              Overall, with some minor adjustments, this scene has the potential to be highly engaging and impactful.
              Suggestions - Consider condensing and tightening the dialogue to make it more concise and impactful.
              - Add more action or visual elements to enhance the scene and engage viewers.
              - Develop the characters' emotions and reactions further to create more tension and suspense.
              - Use more vivid and descriptive language to paint a clearer picture of the scene.
              - Incorporate more subtext and depth into the dialogue to add complexity to the characters and their motivations.
              - Evaluate the pacing of the scene and ensure it aligns with the overall flow of the story.
              - Make sure each line of dialogue serves a purpose and advances the plot or reveals something important about the characters.



              Scene 41 -  The Final Act
              SGT. DONOWITZ
              They-o look-o screen-a, not-o you-a.
              (They’re looking at the screen, not you.)

              HIRSCHBERG
              Fantastic-o.
              (Fantastic.)

              SGT. DONOWITZ
              After-teri, set-ta, five-o moment-o
              (pointing to
              watch)
              You-a, pphisst.
              (After you set the bomb, wait five minutes, and
              get out of here.)

              HIRSCHBERG
              What-o?
              (What?)

              SGT. DONOWITZ
              Confussi-i, confuss-i, confuss-i.
              (Confused, confused, confused.)
              What-a, and-o what-o, same-o?
              (I thought “What-a” meant “What.”
              Does “What-o” mean “What,” as well?)

              HIRSCHBERG
              Oh-o, sorr-o, I-o meant-a “What-a.”
              (Oh, sorry, I meant what.)

              SGT. DONOWITZ
              After-teri, you-a set-ta bom-a,
              five-o moment-o, you-a, fuck-o pphisst.
              (After you set the bomb, wait five minutes and
              get the fuck out of here.)

              HIRSCHBERG
              Affirm-ato, affirm-ato.
              (Affirmative, affirmative.)

              SGT. DONOWITZ
              Good-a, luck-a.
              (Good luck.)
              [151]



              Donowitz stands up from his seat and walks out of the dark
              auditorium into the lobby. The Nazi guards/ushers are gone, and
              the lobby is completely empty. Seeing the STAIRS leading down
              to the WATER CLOSET/BATHROOM, he descends them to plant the
              Boom-a—I mean, the bomb.

              DESCENDING THE STAIRS
              leading to the water closet. Like a lot of old cinemas, not
              only was the water closet located under the auditorium, you
              had to pass through a rather large SMOKING LOUNGE to get to
              it. In the smoking lounge are TEN NAZI ENLISTED MEN, the
              guards/ushers for the event, smoking and indulging in soldiers’
              gossip. They’re all in dress uniforms, and all are armed.

              Donowitz, in his tuxedo, acts cool and walks right through
              them.

              They look up but don’t disturb their time-off vibe.

              Donny enters the big water closet. Except for ONE LONE NAZI
              ENLISTED MAN at the urinal, it would appear as if
              Donny has the whole washroom to himself.

              He enters the privacy of a toilet stall and locks the door.

              MARCEL IN LOBBY
              He descends the stairs leading down from the projection booth into
              the empty lobby. He goes to one of the auditorium doors
              and peers inside.

              WE SEE THE SCREEN AND THE AUDIENCE FROM MARCEL’S POV
              in the back of the room. The audience seems riveted to
              Fredrick’s exploits onscreen.

              Marcel closes the door and, with a KEY, DEADBOLTS it SHUT.

              INSIDE THE AUDITORIUM
              WE PAN OFF THE SCREEN to Marcel, who locks the two doors on either
              side of the screen . . . Due to curtains placed there, no one
              notices Marcel’s actions.

              Marcel then goes BEHIND THE SCREEN. WE SEE THE IMAGE
              (backward) of Fredrick’s sniper battle HUGE, COVERING THE ENTIRE
              SIDE OF THE ROOM . . . A PILE of over 300 nitrate FILM PRINTS lies
              like a junk pile, right behind the screen.

              Sitting down in a wooden chair facing the screen and
              pile-o-film, he lights up a cigarette, an absolute no-no in a
              cinema of this era, but tonight, what does it matter?

              He smokes and waits for his cue to . . . BURN IT DOWN!
              [152]



              FREDRICK IN OPERA BOX
              alongside Hitler, Goebbels, Francesca, and Boormann. Onscreen
              the battle rages. He leans over and whispers something in Goebbel’s
              ear we can’t hear. Goebbels makes a very sympathetic face (at least
              sympathetic for Goebbels) and says in German:

              GOEBBELS
              Perfectly understandable, dear boy.
              You go now, and we’ll see you after
              the show.

              He exits the opera box and walks to the projection booth
              door. He raps on the door in a trying to be amusing way.

              The door opens, just a little bit. Shosanna, not friendly,
              stares at him.

              He, as usual, is all smiles and charm.

              They speak in FRENCH, SUBTITLED IN ENGLISH:

              FREDRICK
              Are you the manager of this cinema?
              I want my money back. That actor in
              the movie stinks.

              He laughs.

              She doesn’t even smile. She says, all serious business:

              SHOSANNA
              What are you doing here?

              FREDRICK
              I came to visit you.

              SHOSANNA
              Can’t you see how busy I am?

              FREDRICK
              Then allow me to lend an assist.

              SHOSANNA
              Fredrick, it’s not funny. You can’t
              be here. This is your premiere. You
              need to be out there with them.

              As Fredrick prepares to tell his little tale with all the
              charm at his command, Shosanna listens, knowing the third reel
              is just about over and her big reel change is coming up.
              [153]



              FREDRICK
              Normally, you would be right.
              And for all the other films I do,
              I intend to endure evenings like
              tonight in the proper spirit.
              However, the fact remains, this film
              is based on my military exploits.
              And in this case, my exploits
              consisted of me killing many men. Consequently,
              the part of the film
              that’s playing now, . . . I don’t like watching
              this part.

              SHOSANNA
              Fredrick, I am sorry, but—

              FREDRICK
              —So, I thought I’d come up here
              and do what I do best, annoy you.
              And from the look on your face, it
              would appear I haven’t lost my touch.

              DONNY IN TOILET
              Sgt. Donowitz, with BOMB in his lap, sets the timer for six minutes
              from now. He then places the bomb in the back of the toilet tank.
              Genres: ["Drama","War"]

              Summary Col. Landa confronts Lt. Aldo and Utivich, revealing their true identities as American soldiers. Meanwhile, Shosanna prepares for the movie screening. Donowitz sets the bomb in the water closet and sets the timer for detonation.
              Strengths
              • Intense tension
              • Revealing character identities
              • Building suspense
              Weaknesses
              • Dialogue could be stronger
              • Theme could be further developed

              Ratings
              Overall

              Overall: 9

              The scene is highly intense and suspenseful, keeping the audience on the edge of their seats with the revelation of the characters' true identities and the impending bomb detonation.


              Story Content

              Concept: 8

              The concept of hiding in plain sight and the consequences of betrayal are effectively portrayed in this scene.

              Plot: 9

              The plot moves forward with the characters being confronted and the bomb set to trigger a major event during the movie screening.

              Originality: 5

              The level of originality in this scene is moderate. While it is set in a unique location and incorporates elements of tension and suspense, there are no particularly fresh approaches or unique situations.


              Character Development

              Characters: 8

              The characters are well-developed and their actions in this scene reveal their true motives and loyalties.

              Character Changes: 7

              The characters' identities and motives are revealed, leading to a change in the dynamic and the stakes of the situation.

              Internal Goal: 8

              The protagonist's internal goal in this scene is to successfully set the bomb and escape without being caught. This reflects his desire to contribute to the resistance against the Nazis and his fear of being discovered and stopped in his mission.

              External Goal: 7

              The protagonist's external goal in this scene is to plant the bomb in the water closet and ensure the bomb goes off according to the set time. This reflects the immediate circumstances of his mission to disrupt the Nazi event and cause chaos.


              Scene Elements

              Conflict Level: 9

              The level of conflict is high, with characters being confronted, a bomb being set, and the impending danger of the movie screening.

              Opposition: 7

              The opposition in this scene is strong as the protagonist faces the challenge of avoiding detection by the Nazi guards/ushers and successfully planting the bomb. The uncertainty of whether he will be successful adds to the opposition.

              High Stakes: 10

              The stakes are incredibly high in this scene, with characters' lives in danger and the potential for a major event during the movie screening.

              Story Forward: 9

              The scene significantly moves the story forward by escalating the tension and setting up the climax of the movie screening.

              Unpredictability: 6

              This scene is somewhat unpredictable because it introduces unknown elements, such as the presence of Nazi guards/ushers and the possibility of the protagonist being discovered. However, the overall outcome is still somewhat expected.

              Philosophical Conflict: 2

              There is not a clear philosophical conflict evident in this scene.


              Audience Engagement

              Emotional Impact: 8

              The scene elicits strong emotions from the audience due to the tension and suspense surrounding the characters' lives being at stake.

              Dialogue: 7

              The dialogue is engaging and advances the plot, but it could have been more impactful with stronger lines.

              Engagement: 9

              This scene is engaging because it builds tension and suspense through the characters' actions and dialogue. The reader is invested in the outcome of the protagonist's mission and wants to see the conflict unfold.

              Pacing: 9

              The pacing of the scene contributes to its effectiveness by creating a sense of urgency and suspense. The action and dialogue are strategically paced to build tension and engage the audience.


              Technical Aspect

              Formatting: 7

              The formatting of this scene follows the expected format for its genre, including scene headings, dialogue, and clear descriptions of the setting and action.

              Structure: 8

              The structure of this scene follows the expected format for its genre, with clear scenes and dialogue sequences that advance the plot and develop the characters.


              Critique Overall, the scene is engaging and filled with tension as it sets up the climax of the story. However, there are a few areas where the dialogue could be improved for clarity and authenticity.

              1. Authenticity: The use of Italian and Spanish words for comedic effect may come across as inauthentic and potentially offensive. It would be more effective to use authentic language or find another way to convey the character's emotions or intentions.

              2. Clarity: Some of the dialogue, especially the translations, may confuse the audience and disrupt the flow of the scene. It would be helpful to simplify the translations to ensure that the audience understands the conversations without any confusion.

              3. Characterization: The characters could be further developed and differentiated through their dialogue. Each character should have a distinct voice that reflects their personality, background, and intentions.

              4. Formatting: The scene description could be tightened and made more concise. Avoid excessive details that are not relevant to the story or visuals.

              5. Visuals: The scene could benefit from more vivid and specific visual descriptions to enhance the reader's immersion and understanding of the setting and actions taking place.

              Aside from these points, the scene effectively builds tension and advances the plot towards the climax. With some attention to dialogue clarity and character development, it has the potential to be even more impactful.
              Suggestions Here are some suggestions to improve the scene:

              1. Clear up the dialogue: Simplify the dialogue to make it easier for the audience to understand. Remove unnecessary contractions and accents and use more standard language.

              2. Streamline the instructions: Condense the instruction given by SGT. DONOWITZ to make it more concise and easier to follow. Avoid repeating instructions for clarity.

              3. Add more description: Add more descriptive language to set the scene and create a visual image for the audience. Describe the appearance of the characters and the atmosphere in the room.

              4. Clarify character actions: Specify character actions and movements more clearly to avoid any confusion for the audience. Ensure that the actions are described in a logical order.

              5. Use specific and concise language: Use specific and concise language to describe the actions, locations, and objects in the scene. Avoid using overly wordy or repetitive phrases.

              6. Create tension and suspense: Build up the tension and suspense in the scene by adding more sensory details and creating a sense of urgency. Use words and phrases that evoke emotions and engage the audience.

              7. Consider pacing: Ensure that the pacing of the scene is appropriate for the tone and mood you want to create. Use shorter, punchier sentences and dialogue to increase the pace and keep the audience engaged.

              By implementing these suggestions, you can improve the clarity, flow, and impact of the scene, making it more engaging for the audience.



              Scene 42 -  Betrayal and Bloodshed
              CAMERA ON FLOOR OF WATER CLOSET
              We see the tile of the floor stretch out before us. We see
              Donny’s feet in the closed toilet stall. We HEAR the OFFSCREEN Nazi
              enlisted man finish his piss. Then HIS SHOES WALK
              THROUGH FRAME . . . WE FOLLOW THEM TO . . . the SINK . . . WE STAY
              ON the shoes . . . as WE HEAR the Soldier WASH HIS HANDS . . . THEN
              . . . THE CAMERA RISES UP HIS PANT LEG . . . till . . . WE’RE EYE
              LEVEL with the German soldier, with an ARMY CAP on his head, who’s
              done washing his hands . . . THEN . . . the soldier removes
              his cap, brushes some bangs out of his face, and WE SEE
              THE SWASTIKA HAND-CARVED INTO HIS FOREHEAD, THE UNDENIABLE MARK OF
              THE BASTERDS. He SPLASHES some WATER ON HIS FACE, puts his
              cap back on his head, and joins his comrades in the smoking lounge.
              As he exits THE FRAME, he says to somebody OFFSCREEN;

              SWASTIKA FOREHEAD
              (GERMAN)
              Hey, Fritz, you owe me three cigarettes. Now
              pay up.

              SHOSANNA AND FREDRICK
              Fredrick still outside the doorway, and Shosanna still baring
              the way.

              SHOSANNA
              I have to get prepared for the reel change.
              [154]



              FREDRICK
              Let me do it?

              SHOSANNA
              No.

              FREDRICK
              Oh, please, it’s been two years since I’ve done
              a reel change.

              SHOSANNA
              I said, no.

              FREDRICK
              (cute whine)
              Come on, it’s my premiere.

              SHOSANNA
              Are you so used to the Nazis kissing your ass,
              you’ve forgotten what the
              word “no” means? No, Fredrick, you
              can’t come in here. Now go away!

              No subtitles for Fredrick needed this time. He gets it.

              He does a one-armed PILE-DRIVE PUSH on the door, knocking both
              it OPEN and Shosanna back into the room.

              Fredrick, a different cat than we’ve seen up till now, enters
              the booth, closing the door behind him and LOCKING it.

              The quite startled Shosanna says to Fredrick:

              SHOSANNA
              Fredrick, you hurt me.

              FREDRICK
              Well, it’s nice to know you can feel something.
              Even if it’s just physical pain.

              Fredrick steps forward . . .

              Shosanna steps backward . . .

              FREDRICK
              I’m not a man you say “Go away”
              to. There’s over three hundred
              dead bodies in Russia that, if
              they could, would testify to that.
              After what I’ve done for you, you disrespect me
              at your peril.
              [155]



              BACK TO WASHROOM
              The Swastika forehead soldier gets a light for his cigarette.
              He takes a big drag.

              SOLDIER’S POV
              He faces the washroom, and down that long row, he sees Donny emerge
              from the toilet stall. His tuxedo jacket is off and
              draped over his right hand. Sporting the white dress shirt
              and black tuxedo vest, he’s quite far away, so now he just
              looks like some guy in a tux who just finished taking a shit. Donny
              walks toward us . . .

              CU SWASTIKA FOREHEAD
              seeing him get closer . . .

              SOLDIER POV
              Donny gets closer . . .

              CU SWASTIKA FOREHEAD
              seeing him closer still . . .

              SOLDIER POV
              Donny gets closer . . .

              CU SWASTIKA FOREHEAD
              begins to notice . . .

              SOLDIER POV
              Donny getting closer, begins to notice the German soldier notice
              him . . .

              CU SWASTIKA FOREHEAD
              Now Donny is close enough for the soldier to recognize. His
              face SCREAMS:

              SWASTIKA FOREHEAD
              The Bear Jew!!!

              The soldier’s GUN is out of its holster and rising toward
              Donny’s chest . . .

              WHEN . . .

              Donny raises his right arm, with the tuxedo jacket on it, and FIRES
              a GUN concealed under it.

              HITTING Swastika Forehead in the chest . . . who finishes raising
              his GUN, FIRING, HITTING Donny in the chest . . .

              The two soldiers FIRE INTO each other . . . till their weapons are
              empty, and the two men lie dead on the floor.

              The ten other NAZIS in the room stand shocked at what just happened
              in front of them.
              [156]



              SHOSANNA AND FREDRICK IN THE PROJECTION ROOM
              Fredrick hears the gunshots below them and turns toward the
              door.

              FREDRICK
              What the hell was that?

              While Fredrick’s back is turned, Shosanna takes a GUN out of
              her pocket and SHOOTS Fredrick THREE TIMES in the back . . .

              . . . He CRASHES HARD into the door, then FALLS FACE FIRST to
              the floor . . .

              Shosanna, gun in hand, looks out the projection booth window into
              the audience . . .

              The ONSCREEN BATTLE rages so LOUDLY with GUNFIRE that her
              weapon didn’t stand a chance of being heard.

              Her eyes go from the audience . . .

              . . . up to the big screen . . .

              . . . which holds FREDRICK ZOLLER in a tight, handsome CLOSEUP.

              The face on the silver screen breaks the young girl’s
              heart . . .

              . . . She looks to his body, lying face down on the floor, blood
              flowing from the holes she put in his back . . .

              . . . His body moves a little, and he lets out a painful MOAN . . .

              . . . DYING though he is, at this moment Fredrick is still
              ALIVE . . .

              Shosanna moves to him . . .

              . . . She touches him, and he lets out another MOAN . . .

              . . . She turns his body over on its back . . .

              . . . He’s holding a LUGER in his hand . . .

              . . . He FIRES TWICE . . .

              BANG BANG

              Two bullets HIT HER POINT BLANK IN THE CHEST . . .

              THROWING HER against the wall, then FALLING FORWARD on her
              knees to the floor . . .

              . . . Fredrick, Luger still in hand, takes aim from the floor . . .
              [157]



              . . . FIRES . . .

              HITTING the bloody girl on the floor, in the thigh . . .

              . . . SPINNING her BODY around in agony . . .

              Like he did to the Russian onscreen, he picks her apart, one bullet
              at a time . . .

              . . . FIRES . . .

              A BULLET BLOWS OFF THE HEEL OF HER FOOT . . .

              The Luger drops to floor. Fredrick DIES.

              Our young French Jewish heroine lies on the projection booth
              floor in a pool of her own blood, her body RIDDLED with
              bullets, her nerve endings wracked with pain, CRIPPLED and
              DYING . . .
              Genres: ["War","Drama","Action"]

              Summary Col. Landa confronts Lt. Aldo and Utivich, revealing their identities, while Shosanna prepares for the movie screening. Donowitz sets a bomb in the water closet and there is a shootout between the soldiers. Shosanna and Fredrick have a confrontation in the projection room, resulting in their deaths.
              Strengths "The intense atmosphere, suspenseful plot, and shocking deaths."
              Weaknesses "Some dialogue and character actions could be further developed."

              Ratings
              Overall

              Overall: 9

              The scene is intense, suspenseful, and leads to significant plot developments.


              Story Content

              Concept: 8

              The concept of spies, betrayals, and the high stakes of war is well-executed.

              Plot: 9

              The plot has multiple twists and turns, with unexpected deaths and revelations.

              Originality: 9

              The scene displays a level of originality through its depiction of a washroom confrontation between the protagonist and the Nazis. The presence of a swastika hand-carved into the German soldier's forehead adds a fresh and unique element to the scene. The authenticity of the characters' actions and dialogue adds to the overall authenticity of the scene.


              Character Development

              Characters: 8

              The characters' actions and dialogue convey tension and conflict.

              Character Changes: 7

              Characters experience changes in their situations and relationships.

              Internal Goal: 8

              The protagonist's internal goal in this scene is to protect herself and resist the Nazis.

              External Goal: 9

              The protagonist's external goal in this scene is to prevent Fredrick from entering the booth and gaining control over the reel change.


              Scene Elements

              Conflict Level: 9

              The conflict between characters and the presence of imminent danger is high.

              Opposition: 8

              The opposition in this scene is strong, with the protagonist facing off against the Nazis and also Fredrick. The audience is uncertain of the outcome and the characters' actions add to the tension.

              High Stakes: 10

              The stakes are extremely high, with characters' lives and the success of their mission on the line.

              Story Forward: 9

              The scene moves the story forward significantly with major revelations and deaths.

              Unpredictability: 7

              This scene has a moderate level of unpredictability, primarily due to the confrontation between the protagonist and Fredrick. The audience does not know exactly how the situation will unfold.

              Philosophical Conflict: 7

              There is a philosophical conflict evident in this scene between the protagonist's belief in resistance against the Nazis and Fredrick's sense of entitlement and power.


              Audience Engagement

              Emotional Impact: 8

              The scene is emotionally impactful due to the deaths of major characters.

              Dialogue: 7

              The dialogue is terse and contributes to the intense atmosphere.

              Engagement: 9

              This scene is engaging because of the intense conflict between the characters, the suspenseful buildup, and the dramatic consequences that occur.

              Pacing: 8

              The pacing and rhythm of the scene effectively contribute to its effectiveness by building tension and maintaining the audience's engagement. The quick progression of actions adds to the intensity of the scene.


              Technical Aspect

              Formatting: 8

              The formatting of the scene follows the expected format for its genre, with clear descriptions of the setting, character actions, and dialogue.

              Structure: 7

              The structure of the scene follows a logical progression and effectively builds tension. However, it does not necessarily follow the expected structure for its genre.


              Critique The scene you provided follows a specific visual sequence, clearly showing the actions and reactions of the characters involved. Overall, it creates tension and suspense, and it escalates to a dramatic climax. However, there are a few areas that could be improved upon:

              1. Lack of character development: The scene lacks character development and depth. While it is clear that there are tensions between Shosanna and Fredrick, their dynamic and motivations could be expanded upon to provide more emotional impact for the audience.

              2. Dialogue: The dialogue lacks nuance and subtlety. The conversation between Shosanna and Fredrick feels blunt and on-the-nose. Adding layers and subtext to their dialogue would enhance the complexity of their relationship and further engage the audience.

              3. Pacing: The scene may benefit from some adjustments to pacing. There are moments where the description becomes overly detailed, slowing down the overall momentum. Streamlining the description and focusing on essential visual elements could create a more dynamic and efficient scene.

              4. Emotional impact: While the violence and action in the scene are intense, there is an opportunity to explore the emotional impact on the characters more effectively. Providing internal thoughts or reactions would help convey the characters' fear, anger, or desperation, heightening the audience's connection to them.

              5. Subtitles: In certain instances, it may be beneficial to include subtitles for the dialogue spoken in a foreign language. This would ensure clarity and understanding for the audience, especially when important plot points or character motivations are being conveyed.

              By addressing these areas, the scene can become more emotionally resonant and captivating.
              Suggestions Overall, the scene is intense and dramatic, but there are a few suggestions to improve the clarity and flow:

              1. Improve description clarity: Instead of using vague terms like "We see" and "We hear," be more specific in describing the actions and sounds.
              Example: "Camera focuses on the tile floor of the water closet, stretching out before us. Donny's feet are visible in the closed toilet stall. Offscreen, we hear the sound of the Nazi enlisted man finishing his piss. Then, his shoes walk through frame and we follow them to the sink."

              2. Split the action into separate paragraphs or shots: The transition from the soldier washing his hands to the soldier walking to the smoking lounge is unclear. It would benefit from breaking it down into separate shots or actions for better visual storytelling.
              Example:
              - "The soldier removes his cap, brushes some bangs out of his face, and we see the swastika hand-carved into his forehead. He splashes some water on his face, puts his cap back on his head, and exits the frame."
              - Next shot: "The soldier joins his comrades in the smoking lounge."

              3. Clarify the location: It's not clear where Shosanna and Fredrick are during their conversation. Add a brief description to set the scene.
              Example: "Shosanna and Fredrick stand outside the doorway of the projection room."

              4. Use more concise dialogue: Some of the dialogue between Shosanna and Fredrick can be tightened to be more impactful and flowing.
              Example: Instead of:
              - "Fredrick, you hurt me."
              - "Well, it's nice to know you can feel something. Even if it's just physical pain."
              Use:
              - "You hurt me, Fredrick."
              - "Nice to know you can still feel, even if it's just pain."

              5. Consider using stronger verbs: Instead of using generic terms like "take," "let out," and "fire," utilize stronger, more specific action verbs to enhance the conflict and intensity of the scene.
              Example: "Shosanna takes out a gun from her pocket and shoots Fredrick three times in the back."

              6. Simplify and condense description: The description of the gunshot sequence could be simplified for better pacing and clarity.
              Example: "Donny raises his right arm, concealing a gun under his tuxedo jacket, and fires at Swastika Forehead, hitting him in the chest. In retaliation, Swastika Forehead shoots Donny in the chest. They continue firing at each other until their weapons are empty, resulting in both men's deaths."

              7. Break up the action: The action of Shosanna shooting Fredrick and his subsequent retaliation should be separated into distinct, concise actions for better visualization.
              Example:
              - "Shosanna shoots Fredrick three times in the back."
              - "Fredrick crashes into the door, then falls face first to the floor."
              - "Shosanna looks out the projection booth window into the audience."

              These suggestions should help tighten the scene, improve the pacing, and enhance visual storytelling for a more impactful film experience.



              Scene 43 -  The Final Showdown and Revenge
              WHEN . . .

              . . . The little bell on the 1st projector starts to ring,
              informing the projectionist it’s time for the REEL CHANGE.

              Dying or not, if Shosanna intends to get her revenge, she’s going
              to have to lift her ass off the floor and execute this fucking reel
              change.

              CINEMA AUDITORIUM
              The battle onscreen continues. The audience is riveted.

              The FUHRER
              watches, completely caught up in the dramatic spectacle.
              He says to Goebbels in German:

              HITLER
              Extraordinary, Joseph, simply extraordinary.
              This is your finest
              film yet.

              Goebbels is beyond proud. He smiles to Francesca, who proudly pats
              his hand.

              PROJECTION BOOTH
              Shosanna, bloody, crippled, and fucked, with great and painful
              effort, PULLS HERSELF OFF THE FLOOR . . .

              AUDITORIUM
              Hirschberg, sitting in his seat, SETS the BOMB on his ankle,
              then stands up and begins scooting past everybody in his row’s
              knees.
              [158]



              PROJECTION BOOTH
              Like the German heroine in one of Riefenstahl’s mountain films,
              Shosanna CLIMBS UP the 35mm film projector, like it was
              Pitz Palu . . .

              FILM ONSCREEN
              Private Zoller FIRING away from his perch. In the top far-
              right corner of the FRAME, WE SEE the 1st REEL CHANGE MARK . . .

              PROJECTION BOOTH
              Shosanna hanging onto the projector, waiting for the 2nd reel
              change mark. It’s an agonizing effort . . .

              BEHIND THE SCREEN
              Marcel, smoking, waiting for his cue . . .

              HIRSCHBERG
              gets out of his row and begins walking up the aisle in the middle
              of the cinema toward the exit.

              ONSCREEN
              SERGIO LEONE CU FREDRICK. He SCREAMS to the Russians below:

              MOVIE ZOLLER
              Who wants to send a message to
              Germany?

              In the top right of THE FRAME, the 2nd REEL CHANGE MARK POPS ON . .
              .

              PROJECTION BOOTH
              Shosanna TOSSES herself to the floor, as she THROWS THE CHANGE-OVER
              SWITCH on the 2nd projector . . .

              EX CU PROJECTOR BULB
              BLASTING WHITE in our face.

              SLOW MOTION
              SHOSANNA FALLING . . .

              EX CU 35MM FILM
              MOVING . . .

              SHOSANNA
              HITS the DUSTY ground HARD, NOT in slow motion . . .

              PROJECTOR BEAM
              SHOOTS OUT OF THE LITTLE PROJECTION BOOTH WINDOW
              hits screen.

              CU SHOSANNA
              on the floor, eyes closed, last breath blown into the dusty
              projection booth floor. Like her family before here, dead from Nazi
              bullets.
              [159]



              AUDITORIUM
              ON THE SILVER SCREEN FREDRICK’S EX CU

              CUT TO

              ON SILVER SCREEN MATCHING SHOSANNA EX CU
              CAMERA in the exact same placement, same background (B/W sky),
              SLIGHT LOW ANGLE LOOKING UP, so onscreen Shosanna is looking
              down on the Nazis, the way Fredrick was looking down on the
              Russians. The way this HUGE IMAGE OF SHOSANNA’S GIANT FACE stares
              down the auditorium of Nazis brings to mind Orwells “1984”
              Big Brother.

              HITLER and GOEBBELS
              React.

              HIRSCHBERG
              standing in the middle of the aisle, turns toward the screen. When
              he sees Shosanna’s GIANT FACE, he’s gobsmacked.

              BEHIND SCREEN
              Marcel sitting in the chair, with his cigarette, before the
              EVEN MORE GIANT FACE OF SHOSANNA

              SHOSANNA’S GIANT FACE ONSCREEN
              She stares down the packed house of Nazis and says
              in FRENCH:

              SHOSANNA’S GIANT FACE
              I have a message for Germany. I’m interrupting
              your Nazi propaganda horseshit to inform you
              dispicable German swine that you’re all going
              to die.

              HITLER and GOEBBELS
              react.

              HIRSCHBERG
              reacts.

              MARCEL
              smiles.

              SHOSANNA’S GIANT FACE
              And I want you to look deep in the face of the
              Jew who’s going to do it.

              AUDITORIUM AUDIENCE
              While the shocked German audience is transfixed to the screen,
              behind the heads of most of them . . .

              The BOMB Landa set in Hitler and Goebbels’s opera box . . .

              EXPLODES.
              [160]



              BLOWING TO SMITHEREENS HITLER, FRANCESA, and BOORMANN, and
              propelling GOEBBELS, still in his theater seat, across the
              auditorium, into the opposite wall and taking out a portion
              of the ceiling as well.

              The crowd reacts . . .

              The explosion causes the huge chandelier from Versailles to topple
              from its jury-rigged placement and CRASH onto the
              audience below . . .

              ONSCREEN THE GIANT FACE OF SHOSANNA finishes her WAR CRY.

              SHOSANNA’S GIANT FACE
              My name is Shosanna Dreyfus, and this is the
              face of Jewish vengeance! Marcel, BURN IT DOWN!

              BEHIND THE SCREEN
              Marcel takes his cigarette and FLICKS IT into the pile of
              nitrate film.

              ONSCREEN SHOSANNA’S GIANT FACE LAUGHS MANIACALLY at the scrambling
              little Nazis, running in a panic, as FLAMES LIKE
              OUT OF A GIANT BLAST FURNACE BURST THROUGH SHOSANNA’S FACE
              and CLIMB UP THE WALLS of the cinema.

              The AUDIENCE
              STAMPEDES toward the exits . . .

              HIRSCHBERG
              with bomb set on ankle, is caught in a massive “Day of the Locust”
              SWARM OF BODIES . . .

              People frantically pound on locked doors, trapping them to
              their grizzly fate.

              The FLAMES and FIRE spread through the auditorium . . .

              Hirschberg, caught in the people crunch, knows this is it.

              HIS ANKLE BOMB GOES OFF
              right underneath everybody in the room.

              The effect this has on the people in the room is very similar
              to that of the effect an M-80 blowing up in an ant hill would have
              on the ants. The auditorium is a literal red rain of legs, arms,
              heads, torsos, and asses.

              THEN . . . ,

              DONOWITZ’S TOILET BOMB
              BLOWS UP UNDERNEATH the auditorium.
              [161]



              COLLAPSING THE CINEMA AND BLOWING OUT THE FRONT OF THE
              THEATER.

              As MADAME MIMEUX’S CINEMA BURNS . . .

              These SUBTITLES APPEAR ONSCREEN as if on a military
              teletype:

              “OPERATION KINO A COMPLETE SUCCESS.”

              FADE OUT

              FADE UP

              “HITLER DEAD. GOEBBELS DEAD. BOORMANN DEAD.
              GOERING DEAD. ZOLLER DEAD. MOST OF HIGH COMMAND
              DEAD.”

              FADE OUT

              FADE IN

              “FOUR DAYS LATER, GERMANY SURRENDERS.”

              FADE OUT

              FADE IN

              “ONCE UPON A TIME IN NAZI . . .
              OCCUPIED FRANCE.”
              Genres: ["Drama","War","Thriller"]

              Summary In the final scene, Shosanna prepares for the movie screening while Col. Landa confronts Lt. Aldo and Utivich, revealing their true identities. Donowitz and Hirschberg set bombs in the auditorium. Shosanna climbs up the film projector and triggers the reel change. As the movie plays, Shosanna's face appears on screen, taunting the Nazis. The bombs go off, killing Hitler and other high-ranking Nazis. The theater collapses and Germany surrenders four days later.
              Strengths
              • Intense and suspenseful atmosphere
              • Effective use of visuals and dialogue to convey emotion
              • Significant plot developments
              Weaknesses
              • Lack of standout dialogue or memorable lines

              Ratings
              Overall

              Overall: 9

              The scene is highly intense and suspenseful, with a climax that has significant consequences for the plot. The execution is well-done and keeps the audience engaged.


              Story Content

              Concept: 8

              The concept of revenge and the use of bombings to bring down high-ranking Nazis is unique and adds a thrilling element to the scene.

              Plot: 9

              The plot progresses significantly in this scene, with the revelation of the characters' identities, the setting of bombs, and the ultimate execution of revenge. It is a pivotal moment in the story.

              Originality: 7

              The level of originality in this scene is moderate. While it includes some unique situations, such as Shosanna climbing the film projector, it also incorporates familiar elements of revenge and resistance against the Nazis. The authenticity of the characters' actions and dialogue adds to the originality.


              Character Development

              Characters: 8

              The characters are well-developed and their actions in this scene align with their motivations and goals. The confrontation between Col. Landa and Lt. Aldo adds depth to their dynamic.

              Character Changes: 8

              Shosanna undergoes a significant change in this scene, from a survivor seeking revenge to a martyr sacrificing herself to kill Hitler and other high-ranking Nazis.

              Internal Goal: 9

              Shosanna's internal goal in this scene is to complete the reel change and execute her plan of revenge against the Nazis. This reflects her deeper need for justice and her desire to avenge her family's death.

              External Goal: 9

              Shosanna's external goal in this scene is to kill the Nazis in the cinema and destroy the building. This reflects the immediate challenge of carrying out her revenge plan and resisting the Nazi regime.


              Scene Elements

              Conflict Level: 10

              The conflict in this scene is at its peak, with multiple conflicts happening simultaneously - the confrontation between Col. Landa and Lt. Aldo, the setting of bombs, and Shosanna's final act of revenge.

              Opposition: 9

              The opposition in this scene is strong, with Shosanna facing physical and emotional obstacles as she carries out her revenge plan. The audience is unsure of the outcome and experiences suspense.

              High Stakes: 10

              The stakes are extremely high in this scene, with the potential to kill Hitler and other high-ranking Nazis and bring about the downfall of the Nazi regime.

              Story Forward: 10

              The scene moves the story forward in a major way, as it marks the culmination of the protagonists' plan and the turning point in the war.

              Unpredictability: 7

              This scene has a moderate level of unpredictability. While the audience knows Shosanna's goal is revenge, the exact sequence of events and the explosive climax provide surprises and twists.

              Philosophical Conflict: 8

              The philosophical conflict evident in this scene is between Shosanna's belief in justice and her desire to take revenge on the Nazis. It challenges her values and worldview as she grapples with the morality of her actions.


              Audience Engagement

              Emotional Impact: 9

              The scene evokes strong emotions, as the audience is invested in seeing the downfall of the Nazis and the triumph of the protagonists. The deaths of major characters and the destruction of the theater have a significant impact.

              Dialogue: 7

              The dialogue effectively conveys the tension and emotions of the scene, but there are no standout lines or memorable quotes.

              Engagement: 10

              This scene is engaging because it builds tension through the actions of the characters and the impending revenge plot. The audience is invested in Shosanna's mission and the outcome of the scene.

              Pacing: 8

              The pacing and rhythm of the scene contribute to its effectiveness by building tension and creating a sense of urgency. The scene moves quickly through the actions of the characters and utilizes slow-motion for heightened impact.


              Technical Aspect

              Formatting: 9

              The formatting of this scene follows the expected format for its genre. It includes proper use of capitalization, scene headings, and dialogue formatting.

              Structure: 8

              The structure of this scene follows the expected format for its genre. It includes clear scene headings, action lines, and dialogue.


              Critique Overall, this scene is very intense and action-packed, effectively building tension and culminating in a dramatic climax. However, there are a few areas where the writing could be improved:

              1. Descriptions: While the action is clear in most parts of the scene, some descriptions could be more specific and concise. For example, instead of "Shosanna, bloody, crippled, and fucked, with great and painful effort, PULLS HERSELF OFF THE FLOOR," it would be better to simply describe her struggling to get up or crawling off the floor.

              2. Dialogue: The dialogue between Hitler, Goebbels, and Shosanna's giant face could be more impactful and memorable. It is important to make sure that the characters' words resonate with the audience and convey the tension and emotion of the scene.

              3. Formatting: It would be helpful to include more specific sluglines to clearly indicate the different locations and actions happening simultaneously. This will make it easier for readers to follow the scene.

              4. Pacing: The scene is quite long and could benefit from some tightening and trimming, especially during the action sequences. This will help maintain the audience's engagement and avoid any lulls in the momentum.

              5. Visuals: The scene relies heavily on visual effects, such as the giant face of Shosanna and the explosion. While these visuals can be very powerful on the screen, it is important to consider how they will be translated into the script. Make sure to provide clear and concise descriptions that capture the essence of the visuals without being overly detailed or difficult to visualize.

              Overall, with some minor adjustments, this scene has the potential to be a thrilling and impactful moment in the screenplay.
              Suggestions Here are some suggestions to improve the scene:

              1. Clarify and simplify the action: The scene description is lengthy and contains several different actions happening simultaneously. Consider breaking it down into smaller, more manageable chunks to make it easier for the reader to follow.

              2. Enhance tension and pacing: The urgency and tension of the situation should be reflected in the writing. Use shorter sentences and snappier language to create a sense of urgency and keep the pace of the scene moving quickly.

              3. Develop character reactions: While the actions of the characters are described, their emotional reactions and internal thoughts are not fully explored. Consider adding more depth to their reactions to make the scene more impactful.

              4. Show, don't tell: Instead of stating that the audience is riveted or that Hitler and Goebbels react, find ways to show their reactions through their body language or dialogue. This will help to create a more engaging and visual scene.

              5. Improve dialogue: The dialogue in the scene is functional and serves its purpose, but it lacks nuance and depth. Consider adding more subtext and emotion to the characters' words to make them more compelling.

              6. Cut unnecessary details: Some of the descriptions and details in the scene may be excessive or distracting. Streamline the writing by focusing on the most important elements and removing anything that does not contribute to the overall impact of the scene.

              7. Polish the ending: The ending of the scene, with the subtitles appearing on screen, feels abrupt. Consider adding a final beat or moment to give the scene more closure and leave a lasting impact on the audience.



              Scene 44 -  The Surrender
              CUT TO

              EXT—WOODS—MORNING

              It’s a misty early morning in a woodsy area. The German
              truck, with Aldo and Utivich in the back, and Landa and
              Herrman in the front, comes to a stop.

              LANDA and HERRMAN IN THE TRUCK CAB
              Herrman, behind the wheel, tells Landa in German:

              HERRMAN
              These are the American lines, sir.

              In the back of the truck sit the two last remaining members
              of the Basterds, Lt. Aldo Raine and Pfc. Smithson Utivich,
              both with their hands cuffed behind their backs.

              Landa and Herrman appear at the truck rear. Landa says in ENGLISH:

              COL. LANDA
              Okay, gentlemen, you can climb down.
              [162]



              Aldo and Utivich climb down from the truck.

              Col. Landa indicates for Herrman to remove the handcuffs from
              the two prisoners.

              He does.

              COL. LANDA
              Herrman, hand them your weapon.

              He does.

              Col. Landa hands over his LUGER and his very-cool-looking S.S.
              DAGGER.

              COL. LANDA
              I am officially surrendering myself
              over to you, Lieutenant Raine. We are your
              prisoners.

              LT. ALDO
              Thank you very much, Colonel. Utivich, cuff the
              colonel’s hands behind his back.

              COL. LANDA
              Is that really necessary?

              As Utivich cuffs the Colonel’s hands behind his back, Aldo
              says:

              LT. ALDO
              I’m a slave to appearances.

              Then Aldo takes the Luger and SHOOTS HERRMAN DEAD.

              The bound Col. Landa is appalled.

              COL. LANDA
              Are you mad? What have you done? I made a deal
              with your general for that man’s life!

              LT. ALDO
              Yeah, they made that deal, but they don’t give
              a fuck about him, they
              need you.

              COL. LANDA
              You’ll be shot for this.
              [163]



              LT. ALDO
              Naw, I don’t think so, more like I’ll
              be chewed out. I’ve been chewed out before. You
              know, Utivich and myself heard that deal you
              made with the brass. End the war tonight? I’d
              make that deal. How ’bout you, Utivich, you
              make that deal?

              UTIVICH
              I’d make that deal.

              LT. ALDO
              I don’t blame ya. Damn good deal.
              And that pretty little nest ya
              feathered for yourself. Well, if
              you’re willing to barbecue the whole high
              command, I suppose that’s worth certain
              considerations. Now I don’t
              care about you gettin’ pensions,
              merit badges, ticker-tape parades,
              who gives a damn, let’s all go home.
              But I do have one question.
              When you go to your little place on
              Nantucket island, I imagine you gonna
              take off that handsome-looking S.S.
              uniform of yours, ain’t ya?

              For the first time in the movie, Col. Landa doesn’t respond.

              LT. ALDO
              That’s what I thought. Now that . . .
              . . . I can’t abide. How bout you,
              Utivich, can you abide it?

              UTIVICH
              Not one damn bit, sir.

              LT. ALDO
              I mean if I had my way, you’d wear
              that goddamn uniform for the rest of
              our pecker-suckin’ life. But I’m
              aware that ain’t practical. I mean
              at some point ya gotta hafta take it off.

              He opens Landa’s S.S. DAGGER and holds the blade in front of Hans’s
              face.

              LT. ALDO
              So I’m gonna give you a little
              somethin you can’t take off.
              [164]



              CU COL. LANDA
              The dagger has just completed carving a swastika deep into his
              forehead.

              COL. LANDA’S POV
              On the ground, looking up at Aldo, bloody knife in hand, who
              straddles him. And Utivich, who’s next to him. The two
              Basterds admire Aldo’s handiwork.

              Aldo turns to Uitivich and says:

              LT. ALDO
              You know somethin’, Utivich? I think this just
              might be my masterpiece.

              They ghoulishly giggle.

              CUT TO

              WRITTEN AND DIRECTED
              BY
              QUENTIN TARANTINO
              Genres: []

              Summary Lt. Aldo confronts Col. Landa and demands his surrender. He then kills Herrman and carves a swastika into Landa's forehead. The Basterds celebrate their victory.
              Strengths
                Weaknesses

                  Ratings
                  Overall

                  Overall: 9

                  The scene is highly intense and climactic, showcasing the Basterds' triumph over their enemy.


                  Story Content

                  Concept: 8

                  The concept of the Basterds avenging their fallen comrades and exacting justice on Col. Landa is highly compelling.

                  Plot: 9

                  The plot progresses significantly as the Basterds successfully capture and humiliate Col. Landa.

                  Originality: 7

                  The level of originality in this scene is relatively high. The situation of a captured enemy turning the tables to assert dominance and seek revenge is not entirely unique, but the execution and dialogue bring freshness to the familiar setup. The authenticity of the characters' actions and dialogue contributes to the originality of the scene.


                  Character Development

                  Characters: 10

                  Lt. Aldo's bravery and ruthlessness, combined with Col. Landa's shock and humiliation, make for highly engaging characters.

                  Character Changes: 9

                  Col. Landa experiences a significant change as he is humiliated and scarred by Lt. Aldo.

                  Internal Goal: 10

                  The protagonist's internal goal in this scene is to assert his power and seek revenge. It reflects his need for control, his desire to make a statement, and his fear of being undermined or taken advantage of.

                  External Goal: 8

                  The protagonist's external goal in this scene is to retaliate against the antagonist and demonstrate his authority. It reflects the immediate challenge of being outnumbered and captured by the enemy.


                  Scene Elements

                  Conflict Level: 10

                  The conflict between Lt. Aldo and Col. Landa is intense and leads to a gruesome conclusion.

                  Opposition: 9

                  The opposition in the scene is strong, as the protagonist confronts the antagonist and asserts his dominance. The audience doesn't know how the situation will unfold, which adds to the suspense and keeps them engaged.

                  High Stakes: 10

                  The stakes are extremely high as the Basterds confront Col. Landa and seek revenge.

                  Story Forward: 9

                  The scene significantly moves the story forward as the Basterds achieve a major victory.

                  Unpredictability: 8

                  This scene is unpredictable because it subverts expectations and has unexpected moments, such as the protagonist shooting a character and carving a swastika on the antagonist's forehead. These surprises add to the suspense and keep the audience guessing about the characters' actions and choices.

                  Philosophical Conflict: 9

                  The philosophical conflict evident in this scene is the contrast between the protagonist's ruthless approach to achieving his goals and the antagonist's belief in making deals and negotiating. This challenges the protagonist's values of revenge and demonstrates the antagonist's pragmatic worldview.


                  Audience Engagement

                  Emotional Impact: 10

                  The scene evokes strong emotions as the Basterds enact retribution on their enemy.

                  Dialogue: 8

                  The dialogue is sharp and impactful, with Lt. Aldo delivering memorable lines as he confronts Col. Landa.

                  Engagement: 9

                  This scene is engaging because it combines suspense, humor, and a mix of unexpected actions and dialogue. The tension and conflict between the characters, as well as the surprise twist at the end, keep the audience on the edge of their seats and wanting to know what happens next.

                  Pacing: 9

                  The pacing of the scene contributes to its effectiveness by gradually building tension and suspense. The writer's use of dialogue, action, and scene direction creates a rhythm that keeps the audience engaged and invested in the story.


                  Technical Aspect

                  Formatting: 10

                  The formatting of this scene adheres to the expected format for its genre. It uses clear scene headings, action lines, dialogue formatting, and character introductions to communicate the necessary information to the reader.

                  Structure: 9

                  The structure of this scene follows the expected format for its genre. It establishes the location, introduces the characters, presents a conflict, and resolves it with a twist. The pacing and progression of the scene are effective in building tension and engaging the audience.


                  Critique Overall, this scene has strong tension and effective dialogue that effectively portrays the power dynamics between Lt. Aldo Raine and Col. Landa. The scene also successfully showcases the brutality and coldness of Aldo's character.

                  However, there are a few areas where the scene could be improved:

                  1. Establishing shots: The scene begins abruptly without any establishing shots or descriptions of the location. Adding a brief description of the setting would help orient the audience.

                  2. Character descriptions: While the scene mentions the characters' names, it would be helpful to provide more detailed physical descriptions to enable the readers to visualize the characters better. Additionally, it's unclear who Herrman is and how he fits into the scene, so it could benefit from some clarification.

                  3. Visual storytelling: The scene heavily relies on dialogue to convey important information and emotions. While the dialogue is well-written, incorporating more visual elements and actions could enhance the impact of the scene. Showcasing the characters' body language and facial expressions can help amplify the tension and add depth to the scene.

                  4. Formatting: The scene could benefit from clearer and more consistent formatting. Ensuring that each character's name is capitalized consistently and indicating when characters are speaking in a language other than English can make the scene easier to follow.

                  Overall, with a few improvements in setting description, character details, visual storytelling, and formatting, this scene could be even more impactful and compelling.
                  Suggestions Overall, this scene is well-written and engaging, but here are a few suggestions to enhance it:

                  1. Develop the atmosphere: Describe the misty early morning in more detail to evoke a specific mood. Use sensory language to paint a picture of the surroundings and set the tone for the scene.

                  2. Add more tension: Consider adding some suspense or conflict within the scene to make it more gripping. This could be achieved through heightened dialogue or body language between the characters.

                  3. Show the characters' emotions: Use descriptive language to convey the characters' emotions throughout the scene. This will help the audience connect with them and understand their motivations.

                  4. Utilize visual imagery: Use vivid imagery to describe the actions and visuals in the scene, particularly when Landa's forehead is carved with a swastika. This will make the scene more memorable and visually impactful.

                  5. Strengthen character development: Explore the characters' thoughts and motivations in more depth, particularly regarding their actions and choices in this critical moment. This will deepen their arcs and make the scene more thematically resonant.

                  6. Consider expanding the dialogue: While the dialogue in this scene is effective, consider adding additional lines that further explore the characters' relationships, beliefs, or intentions. This will enrich the scene and give the audience more insight into the characters.

                  Remember, these suggestions are only intended to enhance the scene. It's important to stay true to the overall tone and style of the script as well as the vision of the writer and director.