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Scene 1 -  A Nazi Officer's 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: ["War","Drama","Thriller"]

Summary In Nazi-occupied France, 1941, a Nazi convoy arrives at a dairy farm. Colonel Hans Landa, a polite yet unsettling Nazi officer, requests entry into the farmer, Perrier LaPadite's, home. The scene leaves the audience with a sense of unease and anticipation for what may unfold inside the farmhouse.
Strengths
  • Tension-filled dialogue
  • Strong character dynamics
  • Effective setting
Weaknesses
  • Limited character development in this scene

Ratings
Overall

Overall: 8

The scene effectively sets the tone for the rest of the film, establishing the high stakes and tension between the characters.


Story Content

Concept: 8

The concept of a Nazi officer visiting a French farmer during the occupation effectively introduces the main conflict of the story.

Plot: 8

The plot is well-developed, with the introduction of the conflict between the French farmer and the Nazi officer driving the narrative forward.

Originality: 9

The scene presents a fresh perspective on the Nazi occupation of France, focusing on the personal struggles and moral dilemmas faced by individuals under oppressive regimes.


Character Development

Characters: 9

The characters are well-defined, with the French farmer portrayed as brave and stoic, and the Nazi officer as polite yet menacing.

Character Changes: 6

While there is not a significant character change in this scene, the interaction between the French farmer and the Nazi officer hints at potential development in their relationship.

Internal Goal: 8

The protagonist's internal goal is to protect his family and navigate the dangerous situation with the Nazi officer without escalating tensions.

External Goal: 9

The protagonist's external goal is to comply with the demands of the Nazi officer and avoid any conflict that could endanger his family.


Scene Elements

Conflict Level: 9

The conflict between the French farmer and the Nazi officer is palpable, adding tension to the scene.

Opposition: 8

The opposition in the scene is strong, with the threat of the Nazi officer and the power dynamics between the characters creating a sense of danger and uncertainty.

High Stakes: 9

The high stakes are evident in the interaction between the French farmer and the Nazi officer, as the farmer's life is in danger.

Story Forward: 8

The scene effectively moves the story forward by introducing the main conflict and establishing the stakes for the characters.

Unpredictability: 8

This scene is unpredictable because of the shifting power dynamics and moral choices that the characters must make.

Philosophical Conflict: 9

The philosophical conflict is evident in the power dynamics between the French farmer, who represents resistance and dignity, and the Nazi officer, who represents oppression and control.


Audience Engagement

Emotional Impact: 7

The scene evokes fear and tension in the audience, setting the emotional tone for the rest of the film.

Dialogue: 8

The dialogue is tense and impactful, revealing the power dynamics between the characters.

Engagement: 9

This scene is engaging because of the high stakes, tense atmosphere, and moral dilemmas faced by the characters.

Pacing: 9

The pacing of the scene contributes to its effectiveness by building tension and suspense through the characters' interactions and dialogue.


Technical Aspect

Formatting: 9

The scene follows the expected formatting for its genre, with clear descriptions and dialogue cues.

Structure: 9

The scene follows the expected structure for its genre, building tension and conflict through dialogue and character interactions.


Critique
  • The scene is too expository and lacks dramatic tension. While it's important to establish the setting and introduce the characters, the scene feels more like a lecture than a dramatic encounter.
  • The dialogue is overly formal and stilted. For example, the lines 'Is this the property of Perrier LaPadite?' and 'I am Perrier LaPadite.' feel unnatural. This dialogue would be more authentic and believable if it were more conversational.
  • The characters are not yet engaging. We learn that the farmer is a 'bull of a man', but we don't see any evidence of that. The Nazi officer is introduced as 'Colonel Hans Landa of the S.S.', but we don't see anything that makes him particularly imposing or dangerous.
  • The scene lacks a clear objective. The Nazi officer arrives, introduces himself, and requests to go inside. The scene ends with him entering the house. What is the purpose of the scene? What is the Nazi officer's goal? We need to understand the stakes of the situation.
  • The use of subtitles can be distracting. While it's necessary to translate the French dialogue, the constant use of subtitles can break the flow of the scene. It would be more effective to use subtitles sparingly, only when absolutely necessary.
  • The scene is visually static. We see the farmer chopping wood, then the Nazi convoy approaching, then the Nazi officer entering the farmhouse. There is very little visual dynamism or movement.
Suggestions
  • Focus on creating dramatic tension. Instead of simply introducing the characters and setting, create a conflict or a moment of suspense. Perhaps the farmer is hiding something from the Nazi officer, or the officer has a hidden agenda.
  • Make the dialogue more conversational and authentic. Let the characters speak in a way that feels natural to their personalities and situations.
  • Develop the characters. Show us the farmer's strength and determination, or the Nazi officer's ruthlessness and cunning. Let their actions and words reveal their personalities.
  • Establish a clear objective. What is the Nazi officer's goal in visiting the farmhouse? What are the stakes for the farmer and his family? Once you know the objective, you can build the scene around it.
  • Use subtitles sparingly. Only translate dialogue when it's absolutely necessary to understand the story. Avoid using subtitles just for the sake of translation.
  • Create visual dynamism. Use camera angles, movement, and editing to add energy and interest to the scene.



Scene 2 -  The SS Officer's 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 SS Colonel Landa arrives at the LaPadite farm, a humble French home, under the Nazi occupation. He compliments the family but his politeness is unsettling. After requesting privacy, he informs Perrier, the farmer, that he is searching for Jews in France, even though the farm was previously searched. Despite his initial cooperation, Perrier is apprehensive about the Colonel's motives, especially when he asks about the Jewish families who once lived in the area. The scene ends with the Colonel's intention to investigate these families and Perrier reluctantly agreeing to help, highlighting the power dynamic and the looming threat of the Nazi regime.
Strengths
  • Tense atmosphere
  • Sharp dialogue
  • Strong character dynamics
Weaknesses
  • Limited character development
  • Lack of action

Ratings
Overall

Overall: 8

The scene effectively establishes the tense atmosphere and sets up the conflict between the characters, keeping the audience engaged throughout.


Story Content

Concept: 8

The concept of a Nazi officer visiting a French dairy farm during the occupation of France is compelling and sets the stage for a high-stakes interaction.

Plot: 8

The plot progresses as the S.S. officer questions the farmer about Jewish families in the area, adding layers of intrigue and tension to the scene.

Originality: 9

The scene presents a fresh approach to the familiar theme of power dynamics during wartime, with nuanced character interactions and dialogue that feel authentic to the setting and time period.


Character Development

Characters: 8

The characters of the French farmer and the S.S. officer are well-defined and their interactions reveal their contrasting personalities and motivations.

Character Changes: 6

While there are no significant character changes in this scene, the dynamics between the characters evolve as the tension mounts.

Internal Goal: 8

The protagonist's internal goal is to protect his family and navigate the dangerous situation with the Nazi officer without endangering them.

External Goal: 9

The protagonist's external goal is to provide the Nazi officer with the information he seeks in order to protect his family and avoid any suspicion.


Scene Elements

Conflict Level: 9

The conflict between the French farmer and the S.S. officer is palpable, creating a sense of unease and suspense throughout the scene.

Opposition: 8

The opposition in the scene is strong, with the Nazi officer representing a formidable obstacle for the protagonist to navigate.

High Stakes: 9

The high stakes are established through the power dynamics between the French farmer and the S.S. officer, hinting at the potential consequences of their interaction.

Story Forward: 8

The scene moves the story forward by introducing the conflict between the characters and setting up future developments in the plot.

Unpredictability: 8

This scene is unpredictable because of the shifting power dynamics and the uncertain outcome of the protagonist's interactions with the Nazi officer.

Philosophical Conflict: 9

The philosophical conflict is evident in the power dynamics between the French farmer, who values his family's safety and hospitality, and the Nazi officer, who represents authority and oppression. This challenges the protagonist's beliefs in protecting his family while navigating a dangerous situation.


Audience Engagement

Emotional Impact: 7

The scene evokes a sense of tension and unease, drawing the audience into the high-stakes interaction between the characters.

Dialogue: 9

The dialogue is sharp, formal, and laden with tension, effectively conveying the power dynamics and underlying conflict between the characters.

Engagement: 9

This scene is engaging because of the tense dialogue, subtle power dynamics, and the looming threat of the Nazi occupation.

Pacing: 9

The pacing of the scene contributes to its effectiveness by building tension gradually through dialogue and character interactions.


Technical Aspect

Formatting: 9

The scene follows the expected formatting for its genre, with clear scene descriptions and character actions.

Structure: 9

The scene follows the expected structure for its genre, building tension through dialogue and character interactions.


Critique
  • The scene starts with a strong hook, introducing the Colonel's unsettling charm and the family's vulnerability.
  • The dialogue is a bit stilted and expository, especially the back and forth about wine and milk. The colonel's compliments to the family feel forced and a bit too on-the-nose.
  • The farmer's hospitality, while seemingly appropriate, feels a bit too eager and could be interpreted as naive or overly accommodating. There should be a hint of tension or suspicion, even if he's trying to appear polite.
  • The scene is a bit too long and could be trimmed down. The transition to English feels abrupt and unearned. The colonel's explanation about his French skills feels like an excuse to switch languages rather than a natural progression.
  • The dialogue about the colonel's job in France feels a bit too expository and could be conveyed more subtly. We already know the context from the previous scene.
  • The scene ends with a rather predictable question about the four Jewish families. This creates a bit of suspense but it's not particularly surprising, given the film's premise.
  • The scene needs to raise the stakes and create more tension. The current version lacks the immediacy and urgency that's needed for this crucial turning point in the story.
  • It's good that the scene is establishing the dynamic between the colonel and the farmer, but the scene should also convey more about the farmer's internal conflict and his desire to protect his family.
Suggestions
  • Consider starting the scene with a more impactful line of dialogue from the colonel, perhaps something that hints at his true intentions or unsettling personality. It could be something subtly threatening or even a question that makes the farmer uncomfortable.
  • Shorten the dialogue about the wine and milk. Find a way to convey the colonel's preference for milk without it being so obvious. Perhaps he casually mentions he likes to start his day with milk or he's feeling 'thirsty'.
  • Show the farmer's inner conflict. He can be polite, but there should be a hint of nervousness in his body language or his tone. He should appear uneasy even while he's trying to appear composed.
  • Cut down the scene's dialogue and focus on visual storytelling. Let the camera and the actors convey the tension. For example, show the colonel casually looking around the house, or maybe he picks up a photo frame and examines it while seemingly chatting casually. These subtle actions can convey his true intentions.
  • Introduce a small element of conflict. Perhaps the farmer accidentally spills a glass of milk or knocks over a chair. This can add a bit of tension to the scene.
  • Create a more impactful ending. Instead of simply asking about the four families, the colonel could make a comment that suggests he knows more than he's letting on. He could say something like, “I’m sure you’ve heard rumors about things that have been happening, about people disappearing...”. This will raise the stakes and leave the audience with a sense of dread.



Scene 3 -  The Jew Hunter's Milk
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: ["Drama","War","Historical"]

Summary In a tense and suspenseful scene set during the Nazi occupation of France, the notorious SS officer Colonel Landa interrogates a seemingly ordinary dairy farmer, Perrier, about the whereabouts of the missing Dreyfus family. Landa, known as "the Jew Hunter", uses a deceptive charm and subtle questioning to try and extract information from Perrier, who remains calm and collected, shielding the family hidden beneath the floorboards of his house. The conflict between Landa's relentless pursuit and Perrier's determination to protect the Dreyfus family remains unresolved, creating a palpable sense of danger and leaving the audience on the edge of their seats.
Strengths
  • Tense atmosphere
  • Complex characters
  • Sharp dialogue
  • Revealing interactions
Weaknesses
  • Limited character development in this specific scene
  • Some may find the subject matter disturbing

Ratings
Overall

Overall: 9

The scene is highly impactful, with intense dialogue, a high level of conflict, and emotional depth. It effectively sets the tone for the rest of the screenplay.


Story Content

Concept: 9

The concept of hiding a Jewish family during the Nazi occupation, the interrogation by the S.S. officer, and the moral dilemmas faced by the characters are compelling and well-executed.

Plot: 8

The plot is driven by the tension between the characters, the revelation of the hidden family, and the looming threat of discovery. It effectively advances the story and sets up future conflicts.

Originality: 9

The scene presents a fresh approach to the theme of hiding Jewish families during World War II, with a focus on moral ambiguity and survival instincts. The characters' actions and dialogue feel authentic and engaging.


Character Development

Characters: 9

The characters are well-developed, with complex motivations and relationships. The contrast between the farmer's stoicism and the officer's ruthlessness adds depth to the scene.

Character Changes: 7

While there is not a significant character arc in this scene, the interactions between the characters reveal their moral dilemmas and internal struggles.

Internal Goal: 9

The protagonist's internal goal is to protect the Dreyfuse family and keep them hidden from the Nazi colonel. This reflects his deeper need for survival, compassion, and resistance against oppression.

External Goal: 8

The protagonist's external goal is to convince the Nazi colonel that he has no knowledge of the Dreyfuse family's whereabouts and to maintain his facade of innocence.


Scene Elements

Conflict Level: 9

The conflict between the characters, the hidden Jewish family, and the looming threat of discovery creates a high level of tension and suspense.

Opposition: 8

The opposition in the scene is strong, with the Nazi colonel's probing questions, the farmer's deception, and the hidden Dreyfuse family creating a sense of uncertainty and danger.

High Stakes: 9

The stakes are high, as the characters' lives are at risk, and the discovery of the hidden family could have dire consequences. The scene effectively conveys the danger and urgency of the situation.

Story Forward: 8

The scene moves the story forward by revealing the hidden Jewish family, escalating the tension between the characters, and setting up future conflicts and dilemmas.

Unpredictability: 8

This scene is unpredictable because of the hidden Dreyfuse family under the floorboards, the farmer's deception, and the Nazi colonel's probing questions.

Philosophical Conflict: 9

The philosophical conflict is between the Nazi ideology of extermination and the farmer's moral obligation to protect innocent lives. This challenges the protagonist's beliefs in humanity, justice, and resistance against tyranny.


Audience Engagement

Emotional Impact: 8

The scene evokes fear, anxiety, and empathy for the characters, especially the hidden Jewish family. The emotional depth adds to the intensity of the scene.

Dialogue: 9

The dialogue is sharp, tense, and revealing, capturing the power dynamics between the characters and building suspense. It effectively conveys the themes of deception and survival.

Engagement: 9

This scene is engaging because of its suspenseful atmosphere, moral dilemmas, and dramatic reveals. The audience is drawn into the tension between the characters.

Pacing: 9

The pacing of the scene is well-executed, with a gradual buildup of tension, dramatic reveals, and character interactions. It keeps the audience engaged and invested in the story.


Technical Aspect

Formatting: 9

The scene follows the expected formatting for its genre, with proper scene descriptions, character actions, and dialogue formatting.

Structure: 9

The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution. The pacing and rhythm contribute to its effectiveness.


Critique
  • The scene effectively builds tension through the contrast between Landa's charming demeanor and the underlying threat he represents. This juxtaposition keeps the audience on edge, as they anticipate the potential danger lurking behind polite conversation.
  • The dialogue is sharp and reveals character motivations well. Landa's probing questions and Perrier's cautious responses highlight the power imbalance and the stakes involved. However, some lines could benefit from being more concise to maintain a brisker pace.
  • The visual storytelling is strong, particularly with the reveal of the Dreyfus family hiding beneath the floorboards. This moment is impactful and serves as a powerful reminder of the stakes for Perrier and the hidden family, enhancing the dramatic tension.
  • The use of the wooden box and the pipe serves as a symbolic representation of Perrier's attempt to maintain normalcy in an abnormal situation. However, it could be further emphasized how these small actions contrast with the larger, more dangerous context of the conversation.
  • While the scene does a good job of establishing the conflict, it could benefit from a more explicit emotional reaction from Perrier to Landa's probing questions about the Dreyfuses. This would deepen the audience's connection to his plight and heighten the tension.
Suggestions
  • Consider tightening some of the dialogue to enhance pacing and keep the audience engaged. For example, Landa's monologue about rumors could be trimmed to maintain focus.
  • Introduce more internal conflict for Perrier during the conversation. This could be achieved through subtle physical reactions, like fidgeting or changes in his breathing, to convey his anxiety.
  • Explore the setting further by incorporating sensory details that reflect the tension in the atmosphere, such as the sounds of the farm or the oppressive silence that follows certain exchanges.
  • Incorporate a brief flash of emotion in Perrier's expressions or body language when Landa mentions the Dreyfuses. This could help to humanize him and emphasize the stakes of the situation.
  • Consider adding a moment where Perrier briefly hesitates or stumbles over his words when discussing the Dreyfuses. This could subtly indicate his fear of revealing too much and enhance the tension in the scene.



Scene 4 -  The Rat and the Hawk
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: ["Drama","War","Historical"]

Summary Colonel Landa, in a chillingly calm manner, continues to interrogate Perrier, comparing Jews to cunning and resourceful rats and German soldiers to hawks. He criticizes the soldiers' brutality towards civilians who aid Jews, suggesting instead that they remind these people of their duty to protect their families. Through subtle manipulation and a philosophical approach, Landa aims to guilt Perrier into revealing his role in helping Jews, leaving a sense of anticipation for the next scene.
Strengths
  • Engaging dialogue
  • Tension-filled atmosphere
  • Complex character dynamics
Weaknesses
  • Limited physical action
  • Heavy reliance on dialogue

Ratings
Overall

Overall: 9

The scene is highly engaging, intense, and thought-provoking, with well-crafted dialogue and strong character dynamics.


Story Content

Concept: 9

The concept of using philosophical analogies to explore morality and manipulation in wartime is executed effectively, adding depth to the scene.

Plot: 8

The plot advances as Col. Landa interrogates Perrier, revealing the high stakes and moral complexities of the situation.

Originality: 9

The scene offers a fresh perspective on the dehumanization of Jews during World War II, using metaphorical language and philosophical debates to explore complex themes. The authenticity of characters' actions and dialogue adds depth to the narrative.


Character Development

Characters: 9

The characters of Col. Landa and Perrier are well-developed and their interactions drive the tension and conflict in the scene.

Character Changes: 8

Both characters undergo subtle changes in their demeanor and understanding of the situation, adding complexity to their arcs.

Internal Goal: 9

The protagonist's internal goal is to assert his superiority and intelligence over others, showcasing his ability to think like a Jew and manipulate situations to his advantage. This reflects his deeper need for control and validation of his intellect in a chaotic world.

External Goal: 8

The protagonist's external goal is to search for hidden Jews in the French farmhouse, demonstrating his loyalty to the Nazi regime and his commitment to his duty as an officer. This reflects the immediate circumstances of war and the challenges of maintaining order in occupied territories.


Scene Elements

Conflict Level: 9

The conflict between Col. Landa and Perrier, both internal and external, is palpable and drives the scene forward.

Opposition: 8

The opposition in the scene is strong, with conflicting beliefs and values creating tension between the characters. The audience is left uncertain about the outcome, adding suspense to the narrative.

High Stakes: 9

The high stakes of the situation, including the safety of the Dreyfus family and the moral dilemma faced by Perrier, heighten the tension.

Story Forward: 9

The scene significantly moves the story forward by revealing key information and escalating the conflict.

Unpredictability: 8

This scene is unpredictable because of the shifting power dynamics, moral ambiguity, and unexpected revelations. The audience is kept on edge, unsure of the characters' true intentions.

Philosophical Conflict: 9

The philosophical conflict in this scene revolves around the dehumanization of Jews and the moral justification for persecution. Col. Landa's comparison of Jews to rats challenges the protagonist's beliefs and values, highlighting the propaganda-driven prejudices of the time.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from tension to unease, adding depth to the narrative.

Dialogue: 10

The dialogue is the standout element of the scene, showcasing manipulation, tension, and philosophical depth.

Engagement: 9

This scene is engaging because of its intellectual depth, moral dilemmas, and psychological tension. The audience is drawn into the characters' conflicting beliefs and motivations.

Pacing: 8

The pacing of the scene contributes to its effectiveness by building tension gradually, allowing for moments of reflection and introspection. The rhythm of the dialogue enhances the emotional impact of the interactions.


Technical Aspect

Formatting: 8

The formatting of the scene adheres to the expected format for its genre, with clear scene descriptions and character actions. The visual elements enhance the atmosphere and tension.

Structure: 8

The scene follows the expected structure for its genre, building tension through dialogue and character interactions. The pacing and rhythm contribute to the effectiveness of the scene.


Critique
  • The scene is a bit too heavy-handed in its exposition about the 'rat' metaphor. While the idea of Landa being able to think like a Jew is interesting, the scene feels like it's trying to force this concept down the reader's throat, rather than allowing it to organically emerge through Landa's actions and dialogue.
  • The back-and-forth between Landa and Perrier about rats feels like a bit of a lecture. It drags on, and the metaphors become repetitive. It would be more impactful if the scene focused on how this information about rats relates to Landa's hunting methods.
  • Landa's speech about German soldiers punishing citizens who help Jews seems like a way to introduce an idea about the Nazis' tactics, but it feels a little jarring and out of place in the context of the scene. It's more like a political commentary than a character-driven moment.
  • The final question Landa asks Perrier about his top duty is a bit too obvious. It's clear that he's trying to make Perrier feel guilty and vulnerable. A more subtle approach might be more effective.
  • The scene lacks a sense of immediacy. It feels like a lot of time is passing between Landa's questions and Perrier's responses, which can slow down the pacing and make the scene feel less suspenseful.
  • The scene does a good job of establishing Landa's personality and his obsession with finding Jews, but it could be more effective if it showed this through actions and dialogue that are more directly related to the plot of the story.
Suggestions
  • Cut down on the length of Landa's speech about rats and focus on how it informs his approach to finding Jews. Show, don't tell.
  • Consider removing the dialogue about German soldiers punishing citizens. It doesn't contribute much to the scene and feels like an exposition dump.
  • Make Landa's final question about Perrier's duty more subtle. Instead of directly asking, perhaps he could subtly imply it through his conversation or actions.
  • Add more visual elements to the scene to create a sense of tension and suspense. Show Landa's movements and expressions as he interrogates Perrier.
  • Make the scene more active by having Landa physically search the house or engage in a more intense interrogation. Show the stakes of his search.
  • Consider introducing a subtle element of doubt about Perrier's honesty. Is he truly innocent, or is he hiding something? This could add an extra layer of tension to the scene.



Scene 5 -  The Farmhouse Massacre
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","Historical"]

Summary In a tense interrogation, Col. Landa, a ruthless Nazi officer, forces farmer Perrier to reveal the hiding place of Jews in his home. After Perrier admits to sheltering the Dreyfus family, Landa orders his soldiers to execute them by shooting through the floorboards. The entire family is killed, except for 16-year-old Shosanna, who narrowly escapes into the woods. Landa, having the chance to shoot her, inexplicably lets her go, leaving the scene with a chilling farewell.
Strengths
  • Intense emotional impact
  • Complex characters
  • High stakes
  • Tense dialogue
  • Powerful themes
Weaknesses
  • Graphic violence
  • Dark subject matter

Ratings
Overall

Overall: 9

The scene is highly impactful, emotionally charged, and filled with tension, effectively conveying the horrors of war and the moral ambiguity of the characters involved.


Story Content

Concept: 9

The concept of hiding Jewish families during the Nazi occupation, the interrogation tactics used by the S.S. officer, and the moral choices faced by the characters are all compelling and well-executed.

Plot: 9

The plot is gripping, with high stakes, intense conflict, and significant character development, driving the narrative forward in a powerful and engaging way.

Originality: 8

The scene presents a fresh approach to the familiar theme of wartime survival, with unexpected twists and moral complexities that challenge the characters' actions and decisions.


Character Development

Characters: 9

The characters are well-developed, with complex motivations and internal conflicts, especially the contrasting personalities of the French farmer and the Nazi officer. Their interactions drive the emotional impact of the scene.

Character Changes: 8

Both characters undergo significant changes in their beliefs and actions during the scene, reflecting the moral complexities of their situations and the consequences of their choices.

Internal Goal: 8

The protagonist's internal goal is to protect his family and survive under the oppressive German occupation. This reflects his deeper need for safety and security.

External Goal: 9

The protagonist's external goal is to protect the Jews hiding under his floorboards and prevent them from being discovered by the German soldiers. This reflects the immediate challenge he faces in the scene.


Scene Elements

Conflict Level: 9

The scene is filled with intense conflict, both external (the interrogation, the hidden family) and internal (the moral dilemmas faced by the characters), creating a sense of urgency and tension.

Opposition: 8

The opposition in the scene is strong, with the protagonist facing a life-threatening situation and moral dilemma that adds complexity to the conflict.

High Stakes: 10

The stakes are incredibly high, with lives on the line, moral decisions to be made, and the threat of discovery and betrayal looming over the characters, intensifying the tension and drama.

Story Forward: 9

The scene propels the story forward by revealing crucial information, escalating the conflict, and setting up future events, driving the narrative towards a climactic resolution.

Unpredictability: 8

This scene is unpredictable because of the unexpected choices made by the characters and the dramatic twists that keep the audience guessing.

Philosophical Conflict: 9

The philosophical conflict is between the protagonist's moral values of protecting innocent lives and the German officer's loyalty to the state and duty. This challenges the protagonist's beliefs in doing what is right versus obeying authority.


Audience Engagement

Emotional Impact: 10

The scene evokes strong emotions of fear, shock, and despair, particularly in the revelation of the hidden family and the fate of the young girl, leaving a lasting impact on the audience.

Dialogue: 8

The dialogue is sharp, tense, and reveals the power dynamics between the characters, adding depth to their interactions and highlighting the moral dilemmas they face.

Engagement: 9

This scene is engaging because of its high stakes, moral dilemmas, and intense action that keep the audience on the edge of their seats.

Pacing: 9

The pacing of the scene contributes to its effectiveness by building tension gradually, escalating the conflict, and delivering a satisfying resolution.


Technical Aspect

Formatting: 9

The scene follows the expected formatting for its genre, with clear scene descriptions, character actions, and dialogue cues that enhance the visual storytelling.

Structure: 9

The scene follows the expected structure for its genre, building tension through dialogue and action sequences that lead to a dramatic climax.


Critique
  • The scene's pacing feels rushed, particularly the climax of the family's demise. The machine-gun fire happens too quickly and feels jarring without more emotional build-up or a sense of Perrier's reaction to his family's fate.
  • The dialogue in this scene, while effective in conveying Landa's character, feels somewhat repetitive and could benefit from more natural variation. The repeated 'yes' answers from Perrier feel formulaic and don't fully capture his desperation.
  • The focus on Shosanna's escape feels somewhat disjointed from the overall narrative flow. It's important to establish her character and motivations earlier in the script to give her survival more emotional weight. While the camera work and descriptions of her frantic escape are strong, there's not a compelling connection to the previous scene.
  • Landa's decision to let Shosanna escape feels sudden and under-explained. It's crucial to understand his reasoning, even if it's implied. Does he feel pity? Does he believe she's insignificant? Does this serve a larger purpose within his character arc?
  • The ending with Landa in the car feels somewhat anticlimactic. The scene could end on a stronger note by showcasing Landa's reaction to Shosanna's escape, his next move, or a more impactful dialogue exchange with the driver.
Suggestions
  • Build tension before the machine-gun fire. Give Perrier a chance to react with horror or desperation, maybe even a last attempt to plead for his family. Slow down the scene to amplify the emotional impact of the massacre.
  • Vary the dialogue. Explore Perrier's inner thoughts and feelings through his actions and reactions. He could hesitate before pointing out the hiding spots, show fear as the gunfire erupts, or even offer a silent plea to Landa for mercy.
  • Connect Shosanna's escape more closely to the preceding events. Give her a brief introduction earlier, perhaps a fleeting glimpse or a line of dialogue, to humanize her and make her survival more meaningful.
  • Explain Landa's decision to let Shosanna escape. Is it a strategic move? A moment of weakness? Or something else entirely? Clarifying his motivation will add depth to his character and create intrigue for the audience.
  • End the scene with a stronger impact. Consider a close-up of Landa's face as he watches Shosanna disappear into the woods, a final chilling line of dialogue, or a sense of foreboding about his next actions.



Scene 6 -  The Basterds: Fear and Fury
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","Action"]

Summary Lieutenant Aldo Raine recruits a group of soldiers in England to form the 'Basterds,' a special unit dedicated to killing Nazis and instilling fear in their ranks. Raine demands a gruesome toll from his recruits: one hundred Nazi scalps each. Meanwhile, in Bavaria, Adolf Hitler expresses his anger and frustration over the Basterds' actions, their brutality, and their impact on his soldiers' morale. He demands that they be captured and brought to him, revealing the fear that the Basterds' guerilla tactics have instilled in the Nazi leadership.
Strengths
  • Intense atmosphere
  • Compelling dialogue
  • Strong character dynamics
Weaknesses
  • Limited character development
  • Heavy reliance on dialogue

Ratings
Overall

Overall: 9

The scene effectively sets up the conflict and establishes the high stakes of the story. It introduces key characters and themes while maintaining a tense and serious tone throughout.


Story Content

Concept: 9

The concept of a group of Jewish-American soldiers seeking revenge against the Nazis during World War II is compelling and sets the stage for a high-stakes conflict.

Plot: 8

The plot advances as Lt. Aldo Raine recruits soldiers for a special mission, while Adolf Hitler expresses his frustration with the resistance fighters. The scene sets up the main conflict of the story.

Originality: 9

The scene introduces a fresh perspective on World War II by focusing on a group of Jewish-American soldiers seeking revenge against the Nazis. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 9

The characters of Lt. Aldo Raine and Adolf Hitler are well-defined and their contrasting personalities add depth to the scene. Their interactions drive the tension and conflict forward.

Character Changes: 7

While there are no significant character changes in this scene, the contrasting personalities of Lt. Aldo Raine and Adolf Hitler are highlighted, setting the stage for potential development in future interactions.

Internal Goal: 9

The protagonist's internal goal is to seek revenge and justice for the atrocities committed by the Nazis. This reflects deeper needs for closure, justice, and a desire to make a difference in the world.

External Goal: 8

The protagonist's external goal is to assemble a team of soldiers and carry out a mission to kill Nazis in enemy territory. This reflects the immediate circumstances of the war and the need to fight back against the enemy.


Scene Elements

Conflict Level: 9

The conflict between the American soldiers and the Nazis is palpable, with both sides expressing their hatred and determination to defeat the other.

Opposition: 8

The opposition in the scene is strong, with Hitler's threats and the protagonist's determination creating a sense of conflict and danger.

High Stakes: 9

The high stakes of the scene are evident in the intense conflict between the American soldiers and the Nazis, as well as Adolf Hitler's threats and the soldiers' mission of revenge.

Story Forward: 9

The scene effectively moves the story forward by introducing key characters, establishing the main conflict, and setting the tone for the rest of the narrative.

Unpredictability: 7

This scene is unpredictable because of the unexpected twists in the dialogue and the shifting power dynamics between the characters.

Philosophical Conflict: 8

The philosophical conflict is between the protagonist's belief in justice and revenge against the Nazis, and Hitler's belief in Aryan superiority and domination. This challenges the protagonist's values and worldview, as they are pitted against a powerful enemy with opposing ideologies.


Audience Engagement

Emotional Impact: 8

The scene evokes strong emotions of anger, tension, and defiance, especially in Adolf Hitler's rant and Lt. Aldo Raine's speech.

Dialogue: 8

The dialogue is intense and impactful, especially in Lt. Aldo Raine's speech and Adolf Hitler's rant. It effectively conveys the themes of revenge and brutality.

Engagement: 9

This scene is engaging because of its intense dialogue, high stakes, and clear character motivations. The tension between the protagonist and the antagonist keeps the audience invested in the story.

Pacing: 8

The pacing of the scene contributes to its effectiveness by building tension and suspense through the characters' interactions and dialogue.


Technical Aspect

Formatting: 8

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

Structure: 8

The scene follows the expected structure for its genre, with a clear setup of the protagonist's goals and the introduction of the antagonist's motivations.


Critique
  • The scene effectively establishes the character of Lt. Aldo Raine as a charismatic and ruthless leader, setting the tone for the Basterds' mission. His Southern drawl and the description of his rope burn create a vivid image that ties into the themes of violence and revenge.
  • The dialogue is strong and memorable, particularly Aldo's speech about the cruelty they will inflict on Nazis. It captures the essence of his character and the film's overall tone, blending dark humor with a serious intent for vengeance.
  • However, the scene could benefit from a more diverse range of reactions from the soldiers. While they collectively respond with 'Yes, sir!', individual characters could be given brief moments to express their feelings about Aldo's brutal mission, adding depth to their personalities and motivations.
  • The transition from Aldo's recruitment speech to the scene with Hitler is abrupt. A smoother transition or a connecting line could enhance the flow of the narrative, helping the audience understand the juxtaposition between the Basterds' actions and the Nazi command's concerns.
  • Hitler's dialogue is exaggerated, bordering on caricature. While this can be effective for dark humor, it risks undermining the seriousness of the historical context. Balancing Hitler's portrayal with a touch of realism could strengthen the impact of the scene.
Suggestions
  • Consider adding brief individual reactions from the soldiers during Aldo's speech to showcase their personalities and enhance the emotional stakes of their mission.
  • Introduce a connecting line or visual transition between Aldo's recruitment and Hitler's scene to create a smoother narrative flow.
  • Refine Hitler's dialogue to strike a balance between dark humor and historical realism, ensuring his character remains threatening without becoming a caricature.
  • Explore the physicality of the soldiers as they listen to Aldo—body language, expressions, and interactions can convey their feelings about the mission and add layers to the scene.
  • Incorporate a moment of hesitation or doubt among the soldiers before they respond to Aldo, providing a deeper insight into their motivations and the weight of their task.



Scene 7 -  The Basterds' Brutality
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","Drama","Action"]

Summary In a French forest, Hitler orders his subordinates to cease references to the 'Bear Jew' and demands a report from a German soldier who survived an ambush. Meanwhile, a group of American soldiers known as the 'Basterds' is shown scalping dead German soldiers and stripping them of their valuables. They capture Sgt. Rachtman, a German soldier, and prepare to interrogate him, highlighting the brutal conflict between the Nazi regime and the American forces. The scene emphasizes the horrors of war and the loss of human dignity, culminating in Lt. Aldo Raine introducing himself to Rachtman, setting the stage for their impending confrontation.
Strengths
  • Intense atmosphere
  • Well-developed characters
  • Engaging dialogue
Weaknesses
  • Graphic violence
  • Negative sentiment
  • Lack of resolution

Ratings
Overall

Overall: 9

The scene is highly impactful, effectively conveying the brutality of war and the tension between the characters.


Story Content

Concept: 8

The concept of 'The Basterds' interrogating captured German soldiers adds depth to the narrative and showcases the harsh realities of war.

Plot: 9

The plot is intense and engaging, focusing on the conflict between the Basterds and the German soldiers, driving the story forward.

Originality: 9

The scene presents a fresh and brutal approach to depicting the horrors of war, with a focus on psychological warfare and the struggle for dignity in the face of death. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 9

The characters are well-developed and their interactions add depth to the scene, especially highlighting the contrasting ideologies of the Basterds and the German soldiers.

Character Changes: 7

Sgt. Rachtman undergoes a significant change in perspective as he faces the interrogation, challenging his beliefs and values.

Internal Goal: 8

The protagonist's internal goal is to maintain his dignity and sense of self-worth in the face of enemy interrogation and potential death. This reflects his deeper need for self-respect and integrity.

External Goal: 7

The protagonist's external goal is to survive the interrogation and maintain his composure in front of the enemy. This reflects the immediate challenge of facing a hostile enemy and potential death.


Scene Elements

Conflict Level: 9

The conflict between the Basterds and the captured German soldiers is intense and drives the scene forward, creating a sense of urgency and danger.

Opposition: 8

The opposition in the scene is strong, with the protagonist facing interrogation and dehumanization by the enemy. The uncertainty of the outcome adds to the tension and conflict.

High Stakes: 9

The stakes are high as the captured German soldiers face interrogation by the ruthless Basterds, adding tension and suspense to the scene.

Story Forward: 9

The scene propels the story forward by introducing new conflicts and deepening the character dynamics, setting the stage for future developments.

Unpredictability: 8

This scene is unpredictable because of the shifting power dynamics between the characters, the moral ambiguity of their actions, and the uncertain outcome of the interrogation. The audience is kept on edge, unsure of how the scene will unfold.

Philosophical Conflict: 9

The philosophical conflict in this scene is the struggle between maintaining one's dignity and integrity in the face of dehumanizing treatment by the enemy. This challenges the protagonist's beliefs about honor and self-respect.


Audience Engagement

Emotional Impact: 8

The scene evokes strong emotions of fear, tension, and anger, immersing the audience in the harsh realities of war.

Dialogue: 8

The dialogue is impactful and drives the tension in the scene, effectively conveying the power dynamics between the characters.

Engagement: 9

This scene is engaging because of its intense and suspenseful atmosphere, moral dilemmas faced by the characters, and the high stakes of the interrogation. The dialogue and actions keep the audience invested in the outcome.

Pacing: 9

The pacing of the scene is effective in building tension and suspense, with a balance of dialogue, action, and narration. The rhythm of the scene enhances its emotional impact and keeps the audience engaged.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene headings, character names, and dialogue formatting. This enhances the readability and flow of the scene.

Structure: 8

The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution. The pacing and rhythm contribute to the effectiveness of the scene.


Critique
  • The scene opens with a jarring jump cut to the French woods, lacking a clear transition from Hitler's previous scene. This abrupt shift breaks the narrative flow and leaves the audience confused about the change in location and context.
  • The narration by Pvt. Butz is redundant and unnecessarily descriptive. The visual elements clearly convey the brutality of the Basterds' actions, making the narration feel like an over-explanation, which undermines the visual storytelling.
  • The narration's tone feels detached and almost comedic, clashing with the violent imagery of the scene. The inclusion of the phrase "True that." reads like a sarcastic comment, further breaking the seriousness of the scene.
  • The introduction of the Literary Narrator feels forced and unnecessary. The scene's visual storytelling is compelling enough without the need for an additional voice to explain the obvious.
  • The scene relies heavily on exposition, with too much information being delivered through narration and dialogue. This approach slows down the pace and prevents the scene from achieving its full potential.
  • The introduction of the literary narrator's voice is jarring and unnecessary, interrupting the natural flow of the scene. It feels like a cheap attempt to add a dramatic element to the scene.
  • The scene lacks a clear focus and purpose. The audience is not sure what the scene is trying to convey, except for the brutal actions of the Basterds. A stronger central conflict or theme could make the scene more impactful.
  • The scene ends abruptly, leaving the audience wondering what happens next. A more satisfying conclusion, perhaps with a hint of the Basterds' future plans or the impact of their actions, would improve the scene's impact.
Suggestions
  • Smoothly transition from Hitler's scene to the Basterds' scene by showing a scene of German soldiers receiving the order, either through a radio transmission or a soldier reading the order. This would create a clear connection between the two scenes and establish the context for the Basterds' actions.
  • Focus on visual storytelling. Allow the actions of the Basterds to speak for themselves. Limit the narration to a few key moments that add emotional depth or background information.
  • Maintain a consistent tone throughout the scene. Avoid using humor or sarcasm in a scene depicting such graphic violence. The scene should be shocking and disturbing, reflecting the barbarity of war.
  • Remove the Literary Narrator altogether. The scene can stand on its own visual and auditory elements. Let the Basterds' actions speak for themselves.
  • Develop a stronger central conflict. What is the Basterds' ultimate goal? What are the consequences of their actions? Showing the impact of their brutality on the Germans could make the scene more compelling.
  • End the scene with a sense of closure or foreshadowing. Show the Basterds planning their next move or hint at the psychological toll their actions are taking on them. This would create a sense of anticipation for the next scene.
  • Consider removing the off-screen narrator and allowing the visual elements to tell the story, focusing on the actions and expressions of the characters to convey their feelings and intentions. The scene can be more impactful through the visual language of film.



Scene 8 -  The Bear Jew's Bargain
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","Action"]

Summary Lt. Aldo Raine and his Basterds ambush a prison convoy to rescue Sgt. Hugo Stiglitz, a notorious Nazi killer. Raine offers Stiglitz a place among the Basterds, emphasizing their mission to eliminate Nazis. He then demands information about a nearby German patrol from Sgt. Werner Rachtman, using intimidation tactics involving the fearsome Sgt. Donny Donowitz, known as the 'Bear Jew'. The scene ends with Raine forcing Werner to reveal the patrol's location on a map, setting the stage for further conflict.
Strengths
  • Sharp dialogue
  • Intense tone
  • Establishing characters and conflict effectively
Weaknesses
  • Limited character development in this specific scene

Ratings
Overall

Overall: 9

The scene is highly impactful, setting the tone for the film and establishing the ruthless nature of the Basterds. The dialogue is sharp and intense, keeping the audience engaged throughout.


Story Content

Concept: 9

The concept of recruiting soldiers to form a team focused on killing Nazis is unique and sets the stage for the conflict and action that will follow. The scene effectively introduces the main characters and their mission.

Plot: 8

The plot is driven by the recruitment of soldiers and the establishment of the Basterds' mission. It sets up the conflict between the Basterds and the Nazis, laying the groundwork for the rest of the film.

Originality: 9

The scene introduces a fresh perspective on the theme of revenge and justice in war, with complex characters and intense dialogue that feel authentic and engaging.


Character Development

Characters: 9

The characters, especially Lt. Aldo Raine and Sgt. Hugo Stiglitz, are well-defined and their personalities shine through in their interactions. The scene effectively introduces the main characters and their motivations.

Character Changes: 7

While there is not a significant character change in this scene, the introduction of Sgt. Hugo Stiglitz and the recruitment of soldiers mark a turning point in the narrative, setting up character arcs to come.

Internal Goal: 8

The protagonist's internal goal is to recruit Sgt. Hugo Stiglitz, a renowned Nazi killer, to join their group of Basterds. This reflects their desire to strengthen their team and increase their effectiveness in fighting against the Nazis.

External Goal: 7

The protagonist's external goal is to gather information about a German patrol in the area to avoid being ambushed. This reflects their immediate need for survival and strategic advantage in their mission.


Scene Elements

Conflict Level: 9

The conflict between the Basterds and the Nazis is palpable throughout the scene, creating tension and driving the narrative forward. The high stakes and intense dialogue heighten the conflict.

Opposition: 8

The opposition in the scene is strong, with conflicting goals and motivations that create a sense of uncertainty and danger for the characters.

High Stakes: 9

The high stakes are evident in the scene, as the Basterds recruit soldiers to join their mission of killing Nazis. The tension and conflict raise the stakes and set the stage for the rest of the film.

Story Forward: 9

The scene effectively moves the story forward by introducing key characters, establishing the mission of the Basterds, and setting up the conflict with the Nazis. It lays the groundwork for the action to come.

Unpredictability: 8

This scene is unpredictable because of the shifting power dynamics and unexpected twists in the characters' interactions, keeping the audience guessing about the outcome.

Philosophical Conflict: 9

The philosophical conflict in this scene is between the protagonist's moral code of killing Nazis and the German soldier's loyalty to their country. It challenges the protagonist's beliefs about justice and the necessity of violence in war.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, including fear, anger, and tension. The brutal nature of the Basterds and their mission adds to the emotional impact of the scene.

Dialogue: 10

The dialogue is sharp, intense, and impactful, driving the scene forward and establishing the tone of the film. It effectively conveys the brutal nature of the Basterds and their mission.

Engagement: 9

This scene is engaging because of its intense dialogue, high stakes, and moral dilemmas that keep the audience on the edge of their seats.

Pacing: 8

The pacing of the scene is well-executed, with a gradual build-up of tension and suspense that leads to a climactic confrontation between the characters.


Technical Aspect

Formatting: 8

The scene is formatted in a clear and concise manner, with effective use of dialogue and action descriptions to enhance the visual storytelling.

Structure: 8

The scene follows a well-paced structure that builds tension and suspense, leading to a dramatic confrontation between the characters.


Critique
  • The scene is fairly well-paced and sets up the introduction of Hugo Stiglitz in a way that is both dramatic and engaging.
  • The narration is a bit heavy-handed and could be trimmed down. It feels like it's explaining things that are already clear to the audience.
  • The dialogue, while engaging in parts, could be more dynamic. The characters often fall into a bit of a 'Q&A' style, where a character asks a question and the other responds in a very direct and predictable manner.
  • The scene is a bit long and could be tightened up by removing some of the repeated lines and actions.
  • The tension between the Basterds and the German prisoners is established, but the scene doesn't fully exploit this conflict. There's an opportunity to show a bit more of the psychological warfare going on, how Aldo is manipulating Werner's fears, and how Werner is trying to maintain his composure and dignity.
  • Donny Donowitz's introduction feels a bit rushed. It would be helpful to see more of him, maybe a bit of action with the baseball bat, to show how intimidating he is.
  • While the scene establishes the Basterds' brutality, it would be good to see a bit more of their playful nature, their sense of camaraderie, and how they balance brutality with humor.
  • The final line about 'Wiener-schnitzel-lickin’ finger' is a bit too heavy-handed and out of place. It feels like it's trying too hard to be funny.
Suggestions
  • Trim down the narration, letting the dialogue and visuals tell the story more. Use the narration sparingly for key points that need emphasis.
  • Make the dialogue more dynamic. Use more subtext, double meanings, and indirect communication to add layers of complexity and tension.
  • Tighten up the pacing by removing redundancies in the dialogue and actions.
  • Explore the psychological conflict between Aldo and Werner in more detail. Show Aldo's manipulation and Werner's internal struggle.
  • Give Donny Donowitz a more compelling introduction. Show his violence, his ruthlessness, and his dedication to taking revenge on the Nazis.
  • Develop the Basterds' camaraderie and playful side. Show them interacting with each other in a way that reveals their personalities and their shared sense of purpose.
  • Replace the 'Wiener-schnitzel-lickin’ finger' line with something more subtle and natural. Allow the scene's tension to speak for itself.



Scene 9 -  The Path to Vengeance
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 Donny Donowitz, a Jewish American soldier preparing for World War II, expresses his desire to fight Nazis rather than Japanese soldiers. He visits his father's barbershop and a sporting goods store in his Boston neighborhood, showing his dedication to fighting for his people. He then asks an elderly Jewish woman, Mrs. Himmelstein, to point out the location of concentration camps on a map, highlighting his determination to avenge the suffering of the Jewish people in Europe. This scene foreshadows Donny's journey towards vengeance and establishes his personal conflict between duty and his desire to fight for what he believes in.
Strengths
  • Strong character development
  • Intense conflict
  • Dark humor
  • Compelling dialogue
Weaknesses
  • Limited character growth in this specific scene

Ratings
Overall

Overall: 9

The scene effectively establishes the tone, themes, and conflicts of the story, introduces key characters, and sets up high stakes for the narrative.


Story Content

Concept: 9

The concept of a group of soldiers on a mission to kill Nazis, led by a charismatic and ruthless leader, is compelling and sets the stage for intense conflict and moral dilemmas.

Plot: 8

The plot advances through the recruitment of new members to the Basterds, setting up future conflicts and missions. It also introduces the overarching goal of killing Nazis and the personal motivations of the characters.

Originality: 9

The scene presents a fresh perspective on the World War II narrative by focusing on the resistance efforts of Jewish characters in Boston. The authenticity of the characters' actions and dialogue adds depth to the story.


Character Development

Characters: 9

The characters are well-defined, with distinct personalities and motivations. Lt. Aldo Raine is portrayed as a charismatic and ruthless leader, while Sgt. Donny Donowitz is shown as a brutal and vengeful soldier.

Character Changes: 7

While there are no significant character changes in this scene, the interactions and dialogue hint at the potential for growth and development in the characters as the story progresses.

Internal Goal: 8

The protagonist's internal goal is to seek justice for his people and to fight against the oppression of the Nazis. This reflects his deeper desire for revenge and to protect his community.

External Goal: 7

The protagonist's external goal is to prepare for his upcoming deployment to fight against the Japanese in the Philippines. This reflects the immediate circumstances and challenges he is facing as a soldier.


Scene Elements

Conflict Level: 9

The scene is filled with internal and external conflicts, including the moral dilemma of killing Nazis, the tension between characters, and the high stakes of their mission.

Opposition: 7

The opposition in the scene is strong, with conflicting viewpoints and motivations between the characters. The protagonist faces challenges and obstacles that add depth to the story.

High Stakes: 9

The high stakes are established through the dangerous mission of killing Nazis, the personal vendettas of the characters, and the intense conflicts they face.

Story Forward: 9

The scene moves the story forward by introducing key plot points, conflicts, and characters, setting up future events and missions for the Basterds.

Unpredictability: 7

This scene is unpredictable because of the unexpected interactions between the characters and the shifting power dynamics. The audience is kept on edge, unsure of how the scene will unfold.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the protagonist's belief in fighting against the Nazis to protect his people, contrasting with the store owner's more passive approach to the situation. This challenges the protagonist's values and sense of duty.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from tension and fear to dark humor and camaraderie among the soldiers.

Dialogue: 8

The dialogue is sharp, engaging, and reveals the personalities and motivations of the characters. It also sets the tone for the dark humor and intense interactions to come.

Engagement: 9

This scene is engaging because of its intense dialogue, emotional stakes, and the characters' strong motivations. The tension and conflict keep the audience invested in the story.

Pacing: 8

The pacing of the scene effectively builds tension and suspense, keeping the audience engaged and invested in the characters' struggles.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene descriptions and character actions that enhance the visual storytelling.

Structure: 8

The scene follows the expected structure for its genre, effectively building tension and conflict through the characters' interactions and dialogue.


Critique
  • The scene feels disjointed and lacks focus. It jumps between different settings and moments in time, leaving the audience confused about the narrative direction.
  • The humor feels forced and out of place, especially given the seriousness of the subject matter. The Basterds' laughter after Rachtman's insult feels unnatural and undermines the tension of the scene.
  • Donny's monologue in the barber shop feels out of character and inconsistent with his previous portrayal. His sudden outburst about wanting to kill Germans feels jarring and doesn't flow naturally from the scene's context.
  • The interaction in the sporting goods store is underdeveloped and lacks emotional weight. The scene feels like a placeholder for Donny's character development, but it fails to provide any significant insight into his motivations.
  • The scene with Mrs. Himmelstein feels rushed and underdeveloped. The conversation lacks depth and doesn't explore the complexities of Donny's relationship with his heritage and the suffering of the Jewish people in Europe.
  • The scene lacks a clear objective and purpose. While it attempts to show Donny's desire for revenge against the Nazis, it fails to establish a strong connection to the overall narrative arc.
  • The dialogue feels stilted and artificial, lacking the natural flow and authenticity of the previous scenes.
Suggestions
  • Consider streamlining the scene and focusing on a single, clear objective. This could be Donny's quest for a weapon to use against the Nazis, his emotional journey towards understanding the horrors of the Holocaust, or his confrontation with Mrs. Himmelstein about his desire for revenge.
  • Explore Donny's internal conflict and his emotional motivations for wanting to fight the Nazis. This could be done through flashbacks, inner monologues, or conversations with other characters.
  • Develop the relationship between Donny and Mrs. Himmelstein. This could involve a more emotionally charged dialogue about the suffering of the Jewish people in Europe or a deeper exploration of Donny's desire for revenge.
  • Rewrite the dialogue to be more natural and authentic, reflecting the characters' personalities and motivations.
  • Explore the theme of violence and its impact on Donny's psyche. This could be done through visuals, dialogue, or internal monologues.
  • Consider revisiting the comedic elements of the scene and ensuring they are consistent with the overall tone and theme of the script.
  • Rework the scene's structure to create a more cohesive and engaging narrative flow, ensuring each moment contributes to the overall story arc.



Scene 10 -  Vengeance Unleashed
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","Drama","Action"]

Summary In a tense scene set during World War II, Donny expresses his determination to confront Nazis, seeking support from Mrs. Himmelstein, who reluctantly agrees to help by signing his bat. The scene escalates as Donny confronts German soldier Rachtman, taunting him before brutally beating him to death, cheered on by his comrades. Meanwhile, Pvt. Butz faces interrogation by Lt. Aldo, who uses intimidation to extract information about German positions, highlighting the dark humor and gravity of the situation.
Strengths
  • Intense dialogue
  • Emotional depth
  • Strong character development
  • Compelling themes
  • High stakes conflict
Weaknesses
  • Graphic violence
  • Dark themes
  • Potentially disturbing content

Ratings
Overall

Overall: 9

The scene is highly impactful, with intense dialogue, emotional depth, and a strong sense of purpose driving the characters. The themes of revenge and justice are effectively portrayed, and the conflict between the Basterds and the Nazis is gripping.


Story Content

Concept: 9

The concept of a group of soldiers seeking revenge against Nazis during World War II is compelling and well-executed. The scene effectively conveys the brutality and determination of the characters in their mission.

Plot: 8

The plot is focused on Donny's mission to avenge the suffering of the Jewish people by killing Nazis. The tension and conflict between the Basterds and the Nazis drive the narrative forward, leading to a climactic confrontation.

Originality: 9

The scene offers a fresh take on the World War II genre by focusing on individual acts of resistance and revenge. The characters' actions and dialogue feel authentic and add depth to the narrative.


Character Development

Characters: 9

The characters, especially Donny, Mrs. Himmelstein, and Pvt. Butz, are well-developed and drive the emotional impact of the scene. Donny's determination for revenge, Mrs. Himmelstein's support, and Pvt. Butz's fear and eventual cooperation add depth to the story.

Character Changes: 8

Donny undergoes a significant change in the scene, from expressing his desire for revenge to taking action and brutally avenging the suffering of the Jewish people. Pvt. Butz also experiences a transformation, from fear to cooperation with the Basterds.

Internal Goal: 9

Donny's internal goal is to seek justice and revenge for the atrocities committed by the Nazis. This reflects his deeper need for closure, his fear of losing loved ones, and his desire to make a difference in the war.

External Goal: 8

Donny's external goal is to physically confront and defeat the Nazis, symbolized by his intention to beat them to death with his bat. This reflects the immediate challenge of fighting against the oppressive regime and protecting loved ones.


Scene Elements

Conflict Level: 9

The conflict between the Basterds and the Nazis is intense and drives the tension in the scene. The high stakes and emotional impact of the characters' actions create a sense of urgency and danger.

Opposition: 8

The opposition in the scene is strong, with conflicting beliefs and motivations driving the interactions between the characters. The audience is left uncertain of the outcome.

High Stakes: 9

The stakes are high in the scene, with the characters risking their lives to seek revenge against the Nazis. The tension and danger of the conflict add urgency and suspense to the narrative, making the scene compelling and impactful.

Story Forward: 9

The scene moves the story forward by advancing the conflict between the Basterds and the Nazis, revealing the characters' motivations and driving the narrative towards a climactic confrontation. The actions and decisions made in the scene have a significant impact on the overall plot.

Unpredictability: 8

This scene is unpredictable because of the unexpected twists in character motivations and actions. The audience is kept on edge, unsure of how the confrontations will unfold.

Philosophical Conflict: 8

The philosophical conflict in this scene is between Donny's belief in violent retribution against the Nazis and Mrs. Himmelstein's questioning of his methods. This challenges Donny's worldview of using force to achieve justice.


Audience Engagement

Emotional Impact: 9

The scene has a high emotional impact, with themes of revenge, sorrow, and determination resonating throughout. The characters' actions and dialogue evoke strong emotions in the audience, making the scene memorable.

Dialogue: 9

The dialogue is intense, emotional, and impactful, conveying the characters' motivations and the high stakes of the conflict. The exchanges between Donny, Mrs. Himmelstein, and Pvt. Butz are powerful and drive the scene forward.

Engagement: 9

This scene is engaging because of its intense conflict, dynamic characters, and high stakes. The dialogue and action keep the audience invested in the outcome.

Pacing: 8

The pacing of the scene is effective in building tension and suspense, leading to a climactic confrontation between the characters.


Technical Aspect

Formatting: 8

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

Structure: 8

The scene follows a well-paced structure, with a clear progression of events and effective transitions between different character interactions.


Critique
  • The scene feels rushed and lacking in tension. It jumps back and forth between Donny and Mrs. Himmelstein and Donny and the Nazi prisoner, which makes it difficult to follow and creates a choppy, disconnected rhythm.
  • While the juxtaposition of Donny's brutality with Mrs. Himmelstein's quiet resistance is interesting, the scene feels underdeveloped and the back-and-forth cuts are disorienting.
  • The scene with Pvt. Butz and Aldo feels redundant and overly explanatory. The scene seems to be trying to reiterate the Basterds' brutality and their mission, but it comes across as heavy-handed and repetitive. We already know the Basterds are brutal and have been shown that they are keen on 'spreading the word'. Aldo's speech is also unnecessarily long and didactic.
  • The scene with Hitler and Pvt. Butz feels awkward and lacks any meaningful tension or purpose. It seems to exist solely to reiterate Hitler's paranoia and rage. The scene would be more interesting if it gave us a glimpse into the mind of Pvt. Butz.
  • The scene feels too reliant on dialogue. We need to see more action, particularly in the scene where Donny kills the Nazi prisoner. The scene could be much more impactful if it showed more of the physicality of the killing.
  • The scene lacks a clear narrative purpose. It is not driving the plot forward or developing the characters in a meaningful way. What is the significance of Donny getting a loved one's name on his bat? What is the purpose of Aldo's interaction with Butz? Why does Hitler need to see the swastika on Butz's forehead? These are questions that the scene needs to answer.
Suggestions
  • Streamline the scene and focus on one central conflict or action. For example, the scene could focus on Donny's killing of the Nazi prisoner. This would allow you to develop the scene's tension and provide a more satisfying resolution.
  • Cut out the scene with Pvt. Butz and Aldo, as it is repetitive and does not contribute to the plot or character development. Instead, focus on exploring Butz's backstory and his motivations for surviving.
  • Rework the scene with Hitler and Pvt. Butz to make it more suspenseful and psychologically engaging. Explore the power dynamic between Hitler and his subordinate and the fear that Butz feels.
  • Use more visuals and less dialogue. Show us Donny's brutality through actions rather than simply telling us about it. Show the physicality of Donny's killing, the reactions of the other Basterds, the fear on Butz's face.
  • Give the scene a stronger narrative purpose. What is the scene trying to tell us about the characters or the plot? How does it move the story forward? Connect the scene to the larger story and develop the themes of revenge, brutality, and the psychological effects of war. For example, consider how Donny's actions in this scene foreshadow his future behavior and how they reflect the themes of the film.



Scene 11 -  The Cinema and the Swastika
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","Thriller"]

Summary The scene opens with a flashback to Pvt. Butz, revealing a swastika carved into his forehead. We then see Aldo and the Basterds carving a swastika into a captured German soldier's forehead. In Paris, Shosanna, a survivor of a massacre, is watching a German propaganda film in a cinema. She approaches the cinema owner, Madame Mimieux, and desperately asks to be taught how to run the projectors. Despite initial reluctance, Madame Mimieux agrees, offering Shosanna a potential haven from the Germans.
Strengths
  • Engaging dialogue
  • Well-developed characters
  • Tension and suspense
  • Emotional depth
Weaknesses
  • Some dialogue may be too expository

Ratings
Overall

Overall: 9

The scene is highly engaging, with a mix of tension, emotion, and suspense that keeps the audience captivated. The dialogue is well-crafted, and the setting adds depth to the story.


Story Content

Concept: 9

The concept of seeking refuge in a cinema during wartime, the exchange between Shosanna and Madame Mimieux, and the theme of survival and resistance are well-executed and integral to the scene.

Plot: 8

The plot advances as Shosanna seeks shelter and Madame Mimieux considers her request, setting up potential future developments. The scene adds depth to the overall story.

Originality: 9

The scene introduces fresh perspectives on wartime survival and resistance, with authentic character interactions and a unique setting that sets it apart from conventional war narratives.


Character Development

Characters: 9

Shosanna and Madame Mimieux are well-developed characters with distinct personalities and motivations. Their interaction drives the scene and adds layers to the narrative.

Character Changes: 7

Shosanna's character undergoes a subtle change as she seeks refuge and confronts Madame Mimieux. There is potential for further development in future scenes.

Internal Goal: 9

Shosanna's internal goal is to find a safe place to hide and survive in the dangerous environment of German-occupied Paris. This reflects her deeper need for safety and security in the face of tragedy and loss.

External Goal: 8

Shosanna's external goal is to learn how to operate the film projector in order to work at the cinema and use it as a hiding place. This goal reflects her immediate circumstances of needing shelter and a means of survival.


Scene Elements

Conflict Level: 8

There is a subtle but palpable conflict between Shosanna's desperation for shelter and Madame Mimieux's cautiousness. The stakes are high, given the wartime setting.

Opposition: 8

The opposition in the scene is strong, with Madame Mimieux's reluctance to help Shosanna creating a compelling obstacle that adds depth to the character dynamics.

High Stakes: 8

The stakes are high as Shosanna seeks shelter in a dangerous environment, risking exposure and potential danger. The wartime context adds urgency to the situation.

Story Forward: 8

The scene moves the story forward by introducing a new setting, establishing character dynamics, and hinting at future conflicts and developments.

Unpredictability: 8

The scene is unpredictable in its character dynamics and moral dilemmas, keeping the audience on edge and uncertain about the characters' choices.

Philosophical Conflict: 8

The philosophical conflict in this scene revolves around the themes of survival, morality, and sacrifice. Madame Mimieux's reluctance to help Shosanna due to fear of reprisal highlights the ethical dilemmas faced by individuals in wartime situations.


Audience Engagement

Emotional Impact: 9

The scene evokes a range of emotions, from sadness and fear to hopefulness. The characters' plight and the wartime backdrop contribute to the emotional impact.

Dialogue: 8

The dialogue is engaging and reveals the characters' personalities and intentions effectively. It builds tension and sets the tone for the scene.

Engagement: 9

This scene is engaging due to its compelling characters, layered dialogue, and suspenseful atmosphere, drawing the audience into the story and setting up future conflicts.

Pacing: 9

The scene's pacing is well-crafted, balancing tension and introspection to maintain audience interest and build momentum towards future events.


Technical Aspect

Formatting: 9

The scene's formatting adheres to industry standards and enhances readability, contributing to the overall flow and impact of the narrative.

Structure: 9

The scene follows a well-defined structure that effectively builds tension and develops character relationships, fitting the expected format for its genre.


Critique
  • The scene effectively establishes a stark contrast between the brutality of the Basterds and the vulnerability of Pvt. Butz. The carving of the swastika into Butz's forehead is a powerful image that symbolizes the humiliation and violence of war, setting a dark tone for the following scenes.
  • The dialogue between Aldo and Donowitz is infused with dark humor, which can be effective in maintaining engagement. However, the humor risks undermining the gravity of the situation. The line about Carnegie Hall feels somewhat out of place given the context of the violence that just occurred.
  • The transition from the violent act to the cinema scene is abrupt. While it serves to juxtapose the brutality of the Basterds with the normalcy of the cinema, the shift could benefit from a smoother narrative flow to maintain emotional engagement.
  • The introduction of Shosanna in the cinema is compelling, but her character could be better developed in this scene. The dialogue with Madame Mimieux feels a bit expository and could benefit from more subtlety to reveal Shosanna's backstory and motivations.
  • The use of subtitles for the French dialogue is effective, but the scene could benefit from more visual storytelling elements that convey Shosanna's emotional state without relying heavily on dialogue. More close-ups or visual cues could enhance the audience's connection to her character.
Suggestions
  • Consider softening the humor in Aldo's dialogue to preserve the tension and horror of the previous scene. This could be achieved by focusing more on the emotional weight of the act rather than making light of it.
  • Enhance the transition between the violence of the Basterds and the calmness of the cinema by using sound design or visual motifs that link the two scenes, such as overlapping sound or a visual motif that carries through.
  • Develop Shosanna's character further in her introduction. Instead of relying on exposition, show her emotional state through her actions and expressions as she interacts with Madame Mimieux.
  • Incorporate more visual storytelling techniques to convey Shosanna's feelings and experiences. This could include close-ups of her expressions or symbolic imagery that reflects her trauma and determination.
  • Revise Madame Mimieux's dialogue to make it less expository and more character-driven. This will enhance the authenticity of their interaction and provide deeper insight into both characters' motivations.



Scene 12 -  Projectionist's Shadow
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: ["Drama","War","Historical"]

Summary Three years after her encounter with Madame Mimieux, Shosanna has become a skilled projectionist at a Paris cinema. As she operates the projectors during a screening of "The White Hell of Pitz Palu", a young German soldier strikes up a conversation with her about the films. While he is friendly and unaware of her Jewish identity, his innocent questions feel like an interrogation to Shosanna, highlighting the ever-present danger of her hidden past. The scene captures a melancholic suspense as Shosanna navigates her daily routine under the shadow of the Nazi occupation, carefully guarding her true identity.
Strengths
  • Engaging dialogue
  • Tension-filled interactions
  • Effective establishment of setting and tone
Weaknesses
  • Limited character development in this specific scene

Ratings
Overall

Overall: 8

The scene effectively sets the tone for the story, introduces key characters, and establishes the high stakes of the situation. The dialogue is engaging, and the tension between Shosanna and the German soldier adds depth to the scene.


Story Content

Concept: 8

The concept of using a cinema as a front for resistance activities is intriguing and sets up potential conflicts and plot developments. The scene effectively introduces this concept and its implications.

Plot: 7

The plot advances as Shosanna carries out her projectionist duties while interacting with the German soldier. The scene sets up potential conflicts and establishes the dangerous world in which the characters operate.

Originality: 9

The scene introduces a fresh perspective on the occupation through the lens of a cinema operator, blending personal interactions with historical context. The dialogue feels authentic and nuanced.


Character Development

Characters: 8

Shosanna and the German soldier are well-developed characters with clear motivations and conflicting interests. Their interaction adds depth to the scene and sets up potential character arcs.

Character Changes: 6

While there are no significant character changes in this scene, the interactions between Shosanna and the German soldier hint at potential developments and conflicts to come.

Internal Goal: 8

Shosanna's internal goal is to maintain her composure and hide her true feelings and identity while interacting with the German soldier. This reflects her deeper need for survival and protection.

External Goal: 7

Shosanna's external goal is to successfully operate the cinema and maintain a facade of cooperation with the German soldier. This reflects the immediate challenge of navigating the occupation and avoiding suspicion.


Scene Elements

Conflict Level: 7

There is a subtle but palpable conflict between Shosanna and the German soldier, as well as the underlying conflict of operating a cinema as a cover for resistance activities. The scene sets up potential conflicts to come.

Opposition: 7

The opposition in the scene is strong in the form of the power dynamics between Shosanna and the German soldier. The audience is unsure of how their interaction will unfold.

High Stakes: 8

The high stakes of operating a cinema as a cover for resistance activities, as well as the tension between Shosanna and the German soldier, create a sense of danger and urgency in the scene.

Story Forward: 8

The scene moves the story forward by establishing key characters, themes, and conflicts. It sets up the narrative trajectory and hints at future plot developments.

Unpredictability: 7

This scene is unpredictable in the sense that the audience is unsure of how Shosanna will navigate her interactions with the German soldier. The subtle power dynamics add an element of unpredictability.

Philosophical Conflict: 9

The philosophical conflict is evident in the power dynamics between Shosanna, a Jewish woman in hiding, and the German soldier, representing the oppressive regime. This challenges Shosanna's values and beliefs.


Audience Engagement

Emotional Impact: 7

The scene evokes a sense of tension, danger, and melancholy, setting a somber tone for the story. The interactions between Shosanna and the German soldier add emotional depth to the scene.

Dialogue: 9

The dialogue is engaging, with tension and subtext underlying the interactions between Shosanna and the German soldier. It effectively conveys the characters' emotions and motivations.

Engagement: 9

This scene is engaging due to the subtle tension between the characters, the historical context, and the underlying conflict. The dialogue and interactions keep the audience invested.

Pacing: 8

The pacing of the scene is effective in building tension and maintaining the audience's interest. The rhythm of the dialogue and actions contributes to the scene's effectiveness.


Technical Aspect

Formatting: 8

The formatting of the scene is clear and easy to follow, with proper scene headings and dialogue formatting. It follows the expected format for its genre.

Structure: 8

The scene follows a structured format with clear transitions and scene descriptions. It adheres to the expected format for its genre.


Critique
  • The scene effectively establishes Shosanna's character as resourceful and resilient, showcasing her determination to survive in a hostile environment. However, the dialogue between Shosanna and Madame Mimieux could benefit from more subtext to enhance tension. Currently, the exchange feels somewhat straightforward and lacks the underlying stakes that could make it more compelling.
  • The transition from the conversation to the title card is visually interesting, but it could be more impactful if it directly connected Shosanna's journey. Instead of just a calendar, consider incorporating elements that reflect her emotional state or her past, deepening the audience's understanding of her character.
  • The montage of Shosanna's daily chores is a nice touch, but it might feel more engaging if it was interspersed with moments that hint at her trauma or her motivations for operating the cinema. As it stands, it feels a bit disconnected from the emotional weight of her backstory.
  • The introduction of the German soldier adds a layer of tension, but his dialogue could be sharpened to better reflect the power dynamics at play. Shosanna’s responses could also be more layered, revealing her inner conflict and fear while maintaining her facade.
  • The scene ends on a somewhat ambiguous note regarding Shosanna's feelings towards Riefenstahl. Clarifying her disdain for Riefenstahl while also acknowledging the soldier's admiration could create a more complex emotional landscape, highlighting the contradictions of her situation.
Suggestions
  • Enhance the subtext in the dialogue between Shosanna and Madame Mimieux by incorporating more tension and stakes. Consider having Madame Mimieux express skepticism or concern about Shosanna's true intentions, which could lead to a more layered exchange.
  • Make the transition to the title card more thematically resonant by including visual elements that reflect Shosanna's emotional journey or the stakes of her situation, rather than just a calendar.
  • Incorporate hints of Shosanna's trauma during the montage of her daily chores. For example, brief flashbacks or moments of hesitation could serve to remind the audience of her past and her motivations.
  • Refine the dialogue of the German soldier to emphasize the power imbalance in the conversation. Consider making him more patronizing or oblivious to Shosanna's true identity, which would heighten the tension.
  • Clarify Shosanna's feelings towards Riefenstahl and the soldier by having her express a mix of disdain and forced politeness. This could convey her internal conflict more effectively and deepen the audience's understanding of her character.



Scene 13 -  Shosanna's Rejection
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 young woman running a cinema, encounters a German soldier named Frederick Zoller twice. Initially, Zoller compliments her taste in movies and introduces himself, but Shosanna is wary of him. Later, at a bistro, Zoller persists in attempting to befriend her, despite her clear disinterest and suggestion that he find someone else in Vichy. The scene ends with Zoller's continued pursuit, leaving a sense of unease and foreshadowing potential danger.
Strengths
  • Tense dialogue
  • Strong character dynamics
  • Cultural tension
Weaknesses
  • Limited action
  • Lack of resolution

Ratings
Overall

Overall: 8

The scene effectively conveys the tension and defiance between the characters, setting the stage for potential conflict and character development.


Story Content

Concept: 8

The concept of a French cinema owner interacting with a German soldier during WWII is unique and sets up a compelling dynamic between the characters.

Plot: 7

The plot focuses on the interaction between the French cinema owner and the German soldier, setting up potential conflicts and character arcs.

Originality: 9

The scene introduces a fresh approach to the familiar theme of resistance during World War II, focusing on the psychological and emotional toll of living under occupation. The characters' actions and dialogue feel authentic and nuanced, adding depth to the narrative.


Character Development

Characters: 9

The characters of Shosanna and Frederick are well-developed, with clear motivations and conflicting emotions, adding depth to the scene.

Character Changes: 7

While there are no significant character changes in this scene, the interactions between Shosanna and Frederick hint at potential development in future scenes.

Internal Goal: 8

Shosanna's internal goal in this scene is to maintain her composure and hide her true feelings towards the German soldier, despite the fear and anger she feels towards him and the Nazis. This reflects her deeper desire to survive and seek revenge for her family's death.

External Goal: 7

Shosanna's external goal in this scene is to avoid drawing attention to herself and maintain her cover as a cinema owner, while also navigating her interactions with the German soldier. This reflects the immediate challenge of living under Nazi occupation and the constant threat of discovery.


Scene Elements

Conflict Level: 8

There is a high level of conflict in the scene, both in terms of the characters' interactions and the underlying tension between the French and German characters.

Opposition: 7

The opposition in the scene is strong, with conflicting desires and hidden agendas driving the interactions between the characters. The audience is left uncertain of how the conflict will be resolved.

High Stakes: 7

The high stakes of cultural differences and resistance add tension to the scene, setting up potential conflicts and character development.

Story Forward: 7

The scene sets up future conflicts and character arcs, moving the story forward by establishing the dynamics between the characters.

Unpredictability: 7

This scene is unpredictable because of the shifting power dynamics between the characters and the hidden motivations driving their actions. The audience is kept on edge, unsure of how the interactions will unfold.

Philosophical Conflict: 7

The philosophical conflict in this scene is between Shosanna's hatred towards the Nazis and her need to hide her true feelings in order to survive. This challenges her beliefs in justice and revenge, as she must suppress her emotions to protect herself.


Audience Engagement

Emotional Impact: 7

The scene evokes a sense of tension and defiance, creating an emotional impact on the audience as they witness the characters' conflicting emotions.

Dialogue: 8

The dialogue is tense and confrontational, effectively conveying the animosity between the characters and setting the tone for future interactions.

Engagement: 9

This scene is engaging because of the high stakes, hidden emotions, and sharp dialogue. The tension between the characters and the sense of danger keep the audience invested in the outcome.

Pacing: 8

The pacing of the scene contributes to its effectiveness by building tension and suspense, allowing the audience to feel the weight of the characters' emotions and decisions.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene headings, dialogue formatting, and action descriptions. The formatting enhances the readability and flow of the scene.

Structure: 8

The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution. The pacing and rhythm of the scene contribute to its effectiveness in building tension and suspense.


Critique
  • The dialogue between Shosanna and the German soldier, Frederick Zoller, effectively establishes tension and highlights Shosanna's struggle to maintain her identity and composure in a dangerous environment. However, the scene could benefit from more subtext; while Shosanna is clearly uncomfortable, deeper layers of her internal conflict could be explored through her thoughts or expressions.
  • The flashback to Madame Mimieux’s warning about fire safety serves as a strong thematic element, reinforcing the danger of Shosanna's current actions. However, the transition between the rooftop scene and the flashback feels somewhat abrupt. A smoother transition could enhance the emotional impact and connection between her past and present.
  • Shosanna's interactions with Frederick reveal her disdain for the Nazis, but the dialogue could be more dynamic. While her responses are curt, infusing a bit more personality or sarcasm could make her character more relatable and engaging. This would also increase the stakes of her interactions with Frederick, as she navigates her feelings and fears.
  • The use of French in the dialogue adds authenticity, but it might alienate some viewers who do not understand the language. Including a brief context or emotional cue in the English subtitles could help maintain engagement and understanding.
  • The pacing of the scene is generally good, but the shift from the rooftop to the bistro could be more pronounced. Currently, it feels like a jump rather than a natural progression. A short transitional moment or a line that connects her feelings about the rooftop to her next encounter could help the flow.
Suggestions
  • Consider adding more internal monologue or visual cues to convey Shosanna's emotional state during her interactions with Frederick. This could enhance the audience's connection to her character.
  • Improve the transition between the rooftop scene and the flashback by using a visual motif or a line of dialogue that links her current thoughts to her past experiences, creating a more cohesive narrative.
  • Infuse more personality into Shosanna's dialogue with Frederick. Allow her to express her disdain for him and the Nazis in a more colorful or sarcastic manner to make her character more engaging.
  • Ensure the French dialogue is supported by emotional context in the subtitles to help viewers who may not understand French grasp the nuances of the conversation.
  • Enhance the pacing by creating a more deliberate transition between locations, possibly by including a brief moment of reflection or a visual cue that connects the two scenes.



Scene 14 -  The Star in Uniform
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: ["War","Drama","Historical"]

Summary In Shosanna's Parisian cinema, a tense encounter unfolds as she questions a charismatic German soldier, Fredrick, about his true identity. Initially evasive, Fredrick ultimately reveals himself to be a decorated war hero and a celebrated movie star, leaving Shosanna both surprised and captivated.
Strengths
  • Engaging dialogue
  • Character development
  • Tension building
Weaknesses
  • Limited action
  • Low stakes

Ratings
Overall

Overall: 8

The scene effectively introduces a new character, Frederick Zoller, and provides depth to his personality and backstory. The dialogue is engaging and reveals important information about the character's past and motivations.


Story Content

Concept: 8

The concept of introducing a German war hero and exploring his interactions with Shosanna adds depth to the story and sets up potential conflicts and developments in the plot.

Plot: 7

The plot advances by introducing Frederick Zoller and establishing his connection with Shosanna. The scene sets the stage for potential conflicts and developments in their relationship.

Originality: 9

The scene offers a fresh perspective on wartime interactions, humanizing both the German soldier and the French protagonist. The dialogue feels authentic and reveals unexpected layers of the characters.


Character Development

Characters: 9

The scene effectively develops the character of Frederick Zoller, providing insight into his background, personality, and motivations. Shosanna's reactions and interactions with Frederick also add depth to her character.

Character Changes: 6

While there are no significant character changes in this scene, the introduction of Frederick Zoller and the insights into his background set the stage for potential character development in future interactions.

Internal Goal: 8

Shosanna's internal goal is to uncover the true identity and motives of Fredrick, the German soldier. This reflects her deeper need for truth, justice, and possibly revenge against the occupying forces.

External Goal: 7

Fredrick's external goal is to engage with Shosanna and potentially gain her trust or sympathy. This reflects the immediate challenge of navigating relationships in a hostile environment.


Scene Elements

Conflict Level: 6

There is a subtle conflict in the scene as Shosanna questions Frederick Zoller's identity and motivations. The tension between the characters adds depth to their interactions.

Opposition: 7

The opposition in the scene is strong but not overwhelming, creating tension and conflict without overshadowing the character interactions. The audience is left wondering about the characters' true intentions.

High Stakes: 6

The stakes are relatively low in this scene, focusing more on character development and establishing relationships. However, the potential conflicts and tensions introduced between Frederick Zoller and Shosanna hint at higher stakes to come.

Story Forward: 7

The scene moves the story forward by introducing a new character, Frederick Zoller, and establishing his connection with Shosanna. It sets up potential conflicts and developments that will impact the overall narrative.

Unpredictability: 8

This scene is unpredictable because of the unexpected revelations about the characters' backgrounds, motives, and actions. The shifting dynamics keep the audience on edge.

Philosophical Conflict: 9

The philosophical conflict is evident in the conversation between Shosanna and Fredrick, highlighting the moral ambiguity of war, propaganda, and individual actions within a larger conflict. It challenges Shosanna's beliefs about German soldiers and Fredrick's sense of duty and identity.


Audience Engagement

Emotional Impact: 7

The scene evokes curiosity and interest in the characters of Frederick Zoller and Shosanna. The revelations about Frederick's past and experiences during the war add emotional depth to the scene.

Dialogue: 8

The dialogue is engaging, revealing, and helps to establish the personalities of both Frederick Zoller and Shosanna. It sets the tone for their future interactions and potential conflicts.

Engagement: 9

This scene is engaging because of the dynamic interactions between the characters, the revelation of personal stories, and the tension created by the war setting.

Pacing: 8

The pacing of the scene contributes to its effectiveness by balancing dialogue, action, and emotional beats. The rhythm keeps the audience engaged and invested in the characters' journey.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with proper scene headings, dialogue formatting, and action descriptions.

Structure: 8

The scene follows the expected structure for its genre, with clear character motivations, conflict, and resolution. The pacing and rhythm contribute to its effectiveness.


Critique
  • The dialogue effectively captures the tension and suspicion between Shosanna and Fredrick, as she tries to discern his true identity while he dances around the truth. However, the banter can feel a bit too playful given the serious backdrop of the war, which may dilute the gravity of the situation. The stakes for Shosanna are high, and the dialogue should reflect her underlying fear and urgency more prominently.
  • Fredrick's character is introduced as charming and affable, but his casual attitude towards his violent past and the war can come off as disingenuous. This creates a dissonance that may confuse the audience about his true nature. It would be beneficial to hint at deeper layers of his character, perhaps showing moments of vulnerability or conflict regarding his actions in the war.
  • The scene's pacing is uneven; while the initial interactions are engaging, the dialogue can meander, especially when discussing his family and the cinema. This could lead to a loss of momentum, making it feel longer than necessary. Streamlining some of the exchanges or cutting unnecessary lines could help maintain tension.
  • Shosanna's character could be given more depth through her reactions to Fredrick's stories. Instead of just questioning him, she could exhibit more emotional responses—fear, anger, or even a flicker of empathy—based on her traumatic past. This would create a more dynamic interaction and allow the audience to connect more with her plight.
  • The introduction of additional German soldiers asking for autographs serves to emphasize Fredrick's fame, but it may also detract from the intimate exchange between him and Shosanna. It might be more effective to limit these interruptions to maintain focus on their conversation and the tension it builds.
Suggestions
  • Consider tightening the dialogue to emphasize Shosanna's urgency and suspicion. Every line should serve to heighten the tension and reveal character motivations.
  • Explore Fredrick's character further by incorporating subtle hints of his internal conflict about the war and his actions. This could be done through body language or brief moments of reflection.
  • Remove or condense some of the less critical dialogue about family and the cinema to keep the pacing brisk and focused on the central conflict.
  • Enhance Shosanna's emotional responses to Fredrick's revelations. Show her inner turmoil through her reactions, which will make the stakes feel more immediate.
  • Limit the number of interruptions from other German soldiers to keep the focus on the main characters and their tension-filled conversation.



Scene 15 -  An Unexpected Invitation
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: ["War","Drama","Thriller"]

Summary Shosanna is abruptly taken away from her cinema by a Gestapo Major and his driver. She is then brought to a lunch at Maxim's, a prestigious Parisian café, where she finds herself seated alongside Joseph Goebbels, the Minister of Propaganda, and other high-ranking officials. Shosanna is visibly uncomfortable and wary of Goebbels' presence, foreshadowing potential future conflict and leaving the situation open-ended.
Strengths
  • Tension-building
  • Strong character dynamics
  • Intriguing plot development
  • Effective dialogue
  • High stakes
Weaknesses
  • Potential predictability
  • Lack of character depth for minor characters

Ratings
Overall

Overall: 9

The scene effectively builds tension and sets the stage for potential conflict, with strong character dynamics and high stakes.


Story Content

Concept: 8

The concept of a secret meeting between a Jewish protagonist and Nazi officials in a public setting is innovative and adds depth to the narrative.

Plot: 9

The plot advances significantly as Shosanna is unexpectedly taken to meet Joseph Goebbels, introducing a new layer of intrigue and potential conflict.

Originality: 9

The scene presents a fresh perspective on the interactions between the French resistance and the Nazis during World War II. The characters' actions and dialogue feel authentic and contribute to the overall tension and suspense.


Character Development

Characters: 9

The characters, especially Shosanna and the Nazi officials, are well-developed and their interactions add depth to the scene.

Character Changes: 7

Shosanna's encounter with the Nazi officials may lead to a shift in her perspective or actions, setting the stage for potential character development.

Internal Goal: 8

Shosanna's internal goal is to maintain her composure and not reveal her true feelings or intentions to the Gestapo officer and the Nazis. She needs to stay calm and collected to navigate the dangerous situation she finds herself in.

External Goal: 7

Shosanna's external goal is to survive the encounter with the Gestapo officer and the Nazis without revealing her true identity or intentions. She needs to play along and act as if she is not in danger.


Scene Elements

Conflict Level: 9

The conflict between Shosanna, a Jewish cinema owner, and the Nazi officials creates a palpable sense of danger and suspense.

Opposition: 8

The opposition in the scene is strong, with Shosanna facing off against the Gestapo officer and the Nazis. The audience is kept on edge as they wonder how she will navigate the dangerous situation and protect her true identity.

High Stakes: 9

The high stakes are evident as Shosanna interacts with powerful Nazi officials, risking exposure and danger.

Story Forward: 9

The scene significantly moves the story forward by introducing a new conflict and raising the stakes for the characters.

Unpredictability: 8

This scene is unpredictable because of the unexpected turn of events, the shifting power dynamics between the characters, and the ambiguous motives of the Gestapo officer.

Philosophical Conflict: 9

The philosophical conflict in this scene is the struggle between survival and resistance. Shosanna must decide whether to comply with the Nazis to survive or resist them at the risk of her own life.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from tension to fear, as the characters navigate a dangerous situation.

Dialogue: 8

The dialogue is tense and impactful, revealing power dynamics and underlying tensions between the characters.

Engagement: 9

This scene is engaging because of its high stakes, dramatic tension, and complex character dynamics. The audience is drawn into the suspenseful situation and invested in Shosanna's fate.

Pacing: 8

The pacing of the scene is effective in building tension and suspense, with well-timed reveals and moments of heightened drama. The rhythm of the dialogue and action sequences enhances the overall impact of the scene.


Technical Aspect

Formatting: 8

The scene follows the expected format for its genre, with clear scene headings, dialogue formatting, and action descriptions. The pacing and rhythm of the scene are well-executed.

Structure: 8

The scene follows a well-defined structure with clear character motivations, rising tension, and a dramatic climax. It effectively builds suspense and sets up future conflicts.


Critique
  • The scene effectively builds tension by placing Shosanna in a precarious situation with the Gestapo, highlighting her fear and uncertainty. This is a strong choice given the historical context and her background, making the audience empathize with her plight.
  • The dialogue between Shosanna and Fredrick is well-crafted, showcasing her skepticism towards him and his charm. However, the transition from their conversation to the arrival of the Gestapo feels abrupt. A smoother lead-in could enhance the flow of the scene.
  • The use of subtitles for the German dialogue is a good choice for accessibility, but it may also distance some viewers from the emotional weight of the moment. Consider using more non-verbal cues or body language to convey the tension and stakes in the interactions.
  • The character of Fredrick is introduced in a way that makes him both charming and potentially dangerous. However, his characterization could benefit from deeper exploration of his motivations. Why does he feel comfortable referring to Goebbels as 'Joseph'? This could add layers to his character and give Shosanna a more substantial reason to be wary.
  • The setting at Maxim's is visually rich and historically significant, but it might be beneficial to include more sensory details to immerse the audience in the atmosphere. Descriptions of sounds, smells, and the ambiance can enhance the scene's tension and the contrast between Shosanna's inner turmoil and the casualness of the café.
Suggestions
  • Consider adding a moment where Shosanna contemplates her situation before the Gestapo arrives, perhaps reflecting on her past or her family's fate. This could deepen her character and heighten the scene's emotional stakes.
  • Introduce a more gradual build-up to the arrival of the Gestapo. Perhaps include a moment where Shosanna senses something is off before they arrive, which could create suspense and foreshadow the impending danger.
  • Explore Fredrick's character further by giving him a line that hints at his internal conflict or doubts about the Nazi regime. This could make him a more complex character and add tension to his interactions with Shosanna.
  • Incorporate more physical actions or reactions from Shosanna that reflect her anxiety and fear as the Gestapo arrives. For example, she could fidget or glance around nervously, which would make her emotional state more palpable.
  • Enhance the dialogue with subtext. For instance, when Fredrick talks about the film and Goebbels, Shosanna could respond with a line that subtly reveals her disdain for the regime, showcasing her strength and defiance even in a vulnerable position.



Scene 16 -  The Premiere Proposal
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: ["War","Drama","Thriller"]

Summary A tense lunch meeting unfolds between Nazi official Joseph Goebbels and Parisian cinema owner Shosanna. Goebbels, accompanied by his mistress Francesca and Gestapo Major Hellstrom, proposes using Shosanna's cinema for the premiere of a new film starring a popular German soldier. Shosanna, initially unaware of the plans, learns about them through Francesca and is left uncertain about her options as Goebbels presses for her agreement.
Strengths
  • Tension-filled dialogue
  • Complex character dynamics
  • High stakes and conflict
Weaknesses
  • Potential for overly dramatic moments
  • Complexity may require close attention from the audience

Ratings
Overall

Overall: 9

The scene is highly impactful, setting up a crucial interaction between key characters and establishing a sense of impending conflict and danger.


Story Content

Concept: 9

The concept of a survivor infiltrating a lunch meeting with high-ranking Nazis adds depth to the story and raises the stakes significantly.

Plot: 8

The plot thickens as Shosanna navigates a dangerous situation, potentially altering the course of events with her presence.

Originality: 9

The scene presents a fresh take on the World War II setting by focusing on the behind-the-scenes manipulation of art and propaganda. The characters' actions and dialogue feel authentic and contribute to the tension and suspense.


Character Development

Characters: 9

The characters, especially Shosanna, Goebbels, and Major Hellstrom, are well-developed and contribute to the tension and intrigue of the scene.

Character Changes: 7

Shosanna's encounter with the high-ranking Nazis may lead to significant character development and changes in her motivations and actions.

Internal Goal: 8

Shosanna's internal goal is to navigate the dangerous situation she finds herself in and protect her cinema from being used for propaganda purposes. This reflects her deeper need for autonomy, survival, and resistance against the oppressive regime.

External Goal: 7

Shosanna's external goal is to resist Goebbels' attempts to use her cinema for a film premiere and maintain control over her establishment. This reflects the immediate challenge she faces in protecting her identity and independence.


Scene Elements

Conflict Level: 9

The conflict is palpable, with power struggles, hidden agendas, and potential betrayals simmering beneath the surface.

Opposition: 8

The opposition in the scene is strong, with characters vying for control, conflicting goals, and hidden agendas. The audience is kept guessing about the characters' true intentions and the outcome of the conflict.

High Stakes: 9

The stakes are high, with Shosanna risking exposure and danger by interacting with powerful Nazi officials, potentially altering the course of her revenge plan.

Story Forward: 9

The scene propels the story forward by introducing new conflicts, alliances, and potential turning points that will impact the narrative.

Unpredictability: 8

This scene is unpredictable because of the shifting power dynamics, hidden agendas, and unexpected revelations. The audience is kept on edge, unsure of how the situation will unfold.

Philosophical Conflict: 9

The philosophical conflict in this scene revolves around the power dynamics between the characters, the manipulation of art for propaganda purposes, and the moral dilemmas faced by Shosanna in resisting the Nazi regime. It challenges her beliefs in freedom, integrity, and resistance.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from tension and fear to anticipation and intrigue, keeping the audience engaged.

Dialogue: 8

The dialogue is sharp, filled with subtext, and drives the scene forward while revealing character motivations and power dynamics.

Engagement: 9

This scene is engaging because of its high stakes, complex character dynamics, and suspenseful dialogue. The audience is drawn into the tense interactions and moral dilemmas faced by the characters.

Pacing: 9

The pacing of the scene is well-executed, with a gradual build-up of tension, strategic pauses, and dramatic reveals. The rhythm of the dialogue and actions enhances the scene's effectiveness.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene descriptions, character actions, and dialogue cues. The formatting enhances the readability and impact of the scene.

Structure: 8

The scene follows the expected structure for its genre, with clear character introductions, rising tension, and a cliffhanger ending. The pacing and rhythm contribute to the scene's effectiveness.


Critique
  • The scene effectively establishes the power dynamics between Shosanna and the Nazi officials, particularly Goebbels and Major Hellstrom. The use of Francesca as an interpreter adds a layer of complexity and highlights the manipulative nature of the conversation. However, the dialogue could benefit from more subtext; while it's clear that Shosanna is in a precarious position, more subtle hints at her internal conflict and fear could enhance the tension.
  • The introduction of Francesca as both Goebbels's interpreter and mistress provides an interesting character dynamic, but the scene could further explore her motivations. Is she complicit in the regime's actions, or does she harbor her own conflicts? A bit more depth to her character could enrich the scene.
  • The dialogue, while informative, sometimes feels overly expository. For instance, Goebbels's comments about the venue change could be streamlined to sound more natural and less like a plot summary. Instead of stating facts, characters could imply their intentions through more nuanced dialogue.
  • The pacing of the scene is uneven in parts. The transitions from dialogue to narration and flashbacks can disrupt the flow. Consider integrating the flashbacks more seamlessly into the dialogue to maintain the scene's momentum and keep the audience engaged.
  • The use of subtitles for Francesca's lines could be more visually integrated into the scene. The abrupt transitions between English and French might pull the audience out of the immersion. A more fluid approach to language could enhance the authenticity of the setting and character interactions.
Suggestions
  • Introduce more internal monologue for Shosanna during the lunch to provide insight into her thoughts and feelings, heightening the emotional stakes.
  • Consider adding a moment where Francesca subtly betrays her own feelings about the Nazis or her role, deepening her character and creating additional tension.
  • Revise dialogue to reduce exposition and make it feel more natural. Characters can hint at their motives rather than stating them outright.
  • Improve pacing by integrating flashbacks or narration more smoothly into the dialogue, perhaps through Shosanna's perspective or memories triggered by the conversation.
  • Experiment with the visual presentation of dialogue, perhaps by using on-screen text for subtitles that feels more organic to the scene's atmosphere.



Scene 17 -  Goebbels's Visit
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: ["War","Drama","Thriller"]

Summary Goebbels, a powerful Nazi figure, decides to visit Shosanna's cinema, much to her dismay. He insists on a private screening of "Lucky Kids," a film suggested by Fredrick. Shosanna is forced to comply, but her anxieties escalate when Landa, the infamous Nazi hunter, is introduced as security for the screening. Goebbels, unaware of Shosanna's past and her connection to Landa, makes light of Landa's reputation for finding Jews, adding to the tension of the scene.
Strengths
  • Tense atmosphere
  • Complex characters
  • Sharp dialogue
  • Intriguing power dynamics
Weaknesses
  • Limited character development
  • Lack of action or physical conflict

Ratings
Overall

Overall: 9

The scene is highly engaging, with a strong focus on tension, manipulation, and the power dynamics between the characters. The introduction of Fredrick Zoller adds depth to the narrative and sets the stage for future conflicts.


Story Content

Concept: 9

The concept of using propaganda and manipulation as tools of power is effectively portrayed in the scene. The tension between Shosanna and the Nazi officials creates a compelling dynamic that drives the narrative forward.

Plot: 8

The plot advances significantly in this scene, with the introduction of key characters and the setup for future conflicts. The decision to screen 'Lucky Kids' at Shosanna's cinema sets the stage for a pivotal event in the story.

Originality: 9

The scene introduces fresh perspectives on wartime propaganda and cultural clashes, with authentic character interactions and dialogue that feel true to the historical setting.


Character Development

Characters: 9

The characters in the scene are well-developed and complex, particularly Shosanna, Joseph Goebbels, and Col. Hans Landa. The introduction of Fredrick Zoller adds an intriguing new element to the narrative.

Character Changes: 7

While there are no significant character changes in this scene, the introduction of Fredrick Zoller adds a new dynamic to the narrative and sets the stage for future developments.

Internal Goal: 8

Shosanna's internal goal is to maintain her composure and hide her true feelings of fear and anger towards Col. Hans Landa, the S.S. officer who murdered her family. She must suppress her emotions to survive.

External Goal: 7

Shosanna's external goal is to navigate the demands of Goebbels and Col. Hans Landa to screen a German film at her cinema. She must comply with their requests while concealing her true identity and emotions.


Scene Elements

Conflict Level: 9

The conflict in the scene is palpable, with power struggles, manipulation, and hidden agendas driving the narrative forward. The tension between Shosanna and the Nazi officials creates a sense of unease and suspense.

Opposition: 8

The opposition in the scene is strong, with characters facing conflicting goals and hidden agendas that create uncertainty and tension for the audience.

High Stakes: 8

The stakes are high in the scene, with power struggles, manipulation, and propaganda playing a central role. The decisions made by the characters have far-reaching consequences, adding tension and suspense to the narrative.

Story Forward: 9

The scene moves the story forward significantly, introducing key characters, setting up future conflicts, and advancing the plot. The decision to screen 'Lucky Kids' at Shosanna's cinema foreshadows important events to come.

Unpredictability: 8

The scene is unpredictable due to the shifting power dynamics and hidden agendas of the characters, creating tension and uncertainty for the audience.

Philosophical Conflict: 9

The philosophical conflict revolves around the clash between traditional German cinema and the influence of Hollywood. Goebbels represents the desire for German cinema to be a global alternative to Hollywood, while Shosanna values the nostalgia of older German classics.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, including fear, tension, and intrigue. The interactions between the characters are charged with emotion, adding depth to the narrative.

Dialogue: 9

The dialogue in the scene is sharp, tense, and filled with subtext. The interactions between the characters reveal their motivations and power dynamics, adding depth to the narrative.

Engagement: 9

This scene is engaging due to its blend of suspense, humor, and political intrigue, keeping the audience invested in the characters' interactions and motivations.

Pacing: 8

The scene's pacing effectively builds tension and suspense, with well-timed dialogue and character interactions that maintain the audience's interest.


Technical Aspect

Formatting: 8

The scene's formatting adheres to industry standards, with clear scene descriptions and character actions that enhance readability and visual storytelling.

Structure: 8

The scene follows a structured format that effectively builds tension and develops character dynamics, fitting the genre expectations for a historical drama.


Critique
  • The scene effectively builds tension by introducing the character of Colonel Hans Landa, who is a known threat to Shosanna. His presence adds an immediate sense of danger, and the juxtaposition between the light-hearted conversation about film and the dark undertones of the Nazi regime creates a compelling contrast.
  • The dialogue is sharp and reflects the characters' personalities well. Goebbels is portrayed as self-important and oblivious to the horror around him, while Fredrick Zoller attempts to ingratiate himself with both Goebbels and Shosanna, adding to the tension as he tries to navigate his own precarious position.
  • The humor in Goebbels's and Landa's interactions, particularly the 'truffle pig' comment, is unsettling yet effective in highlighting the absurdity of their situation. However, the humor may overshadow the gravity of the scene for some viewers, which could dilute the intended impact.
  • Shosanna's internal conflict is well-expressed through her reactions to Landa's introduction. Her horror is palpable, and the stakes are raised significantly as she realizes the danger she is in. However, the scene could benefit from a more explicit expression of her emotional turmoil, perhaps through her inner thoughts or physical reactions, to deepen the audience's connection to her plight.
  • The pacing of the scene is generally good, but it could be tightened up in places. Some dialogue exchanges feel slightly drawn out, which could detract from the urgency of the moment. A more concise delivery could heighten the tension and keep the audience engaged.
Suggestions
  • Consider adding more internal monologue or visual cues that reflect Shosanna's emotional state when Landa is introduced. This could create a stronger connection between her character and the audience, making her fear more relatable.
  • To maintain the balance between humor and tension, consider reducing the amount of comedic dialogue or finding ways to underscore the absurdity of the situation without allowing it to overshadow the seriousness of the Nazi threat.
  • Tighten the dialogue by cutting any extraneous lines that do not serve to advance the plot or character development. This can help maintain the scene's pace and enhance the feeling of urgency.
  • Explore ways to visually emphasize the power dynamics at play in the scene. For example, using camera angles or framing that highlight Shosanna's isolation among the powerful figures could enhance the tension and her vulnerability.
  • Consider having Francesca (the interpreter) react more visibly to the conversation, as her perspective could add another layer to the scene, particularly in how she navigates the tension between her role and the dangerous figures she serves.



Scene 18 -  The Strudel and the Threat
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: ["War","Drama","Thriller"]

Summary Colonel Landa, acting as security chief, approaches Shosanna at Maxim's restaurant, revealing he knows she owns the cinema. He orders strudel and milk for her, a subtle act of manipulation knowing her family were dairy farmers. Landa uses his charm and knowledge of Shosanna's past to disarm her, making her feel safe while subtly gathering information. His intentions, however, are hidden beneath his disarming demeanor, creating a palpable tension as Shosanna, despite trying to appear innocent, betrays her anxiety through her body language. The scene ends with Landa and Shosanna eating strudel, the unsettling tension between them highlighting the danger that lurks beneath the surface of their interaction.
Strengths
  • Tense atmosphere
  • Intriguing dialogue
  • Strong character dynamics
Weaknesses
  • Limited action
  • Heavy dialogue

Ratings
Overall

Overall: 8

The scene is well-written, with strong tension and intriguing dialogue. The interaction between Shosanna and Col. Landa keeps the audience engaged and sets up further conflict.


Story Content

Concept: 8

The concept of a high-stakes meeting between a cinema owner and a Nazi officer is compelling. The power dynamics and manipulation add depth to the scene.

Plot: 7

The plot advances as Col. Landa questions Shosanna about her cinema ownership, setting up potential future conflicts and revealing character motivations.

Originality: 9

The scene introduces a complex power dynamic between the characters, blending elements of suspense, deception, and historical context. The dialogue is sharp and reveals layers of character motivations.


Character Development

Characters: 9

The characters of Shosanna and Col. Landa are well-developed and intriguing. Their interactions reveal layers of deception and tension.

Character Changes: 6

While there are no significant character changes in this scene, the interaction between Shosanna and Col. Landa sets the stage for potential development in future scenes.

Internal Goal: 8

The protagonist's internal goal is to navigate the conversation with Col. Landa without revealing her true identity or intentions. She is anxious and cautious, trying to protect herself and her secrets.

External Goal: 7

The protagonist's external goal is to maintain her cover and avoid suspicion from Col. Landa. She wants to protect herself and her cinema from any potential threats.


Scene Elements

Conflict Level: 8

The conflict between Shosanna and Col. Landa is palpable, with both characters trying to outmaneuver each other. The power play adds tension to the scene.

Opposition: 8

The opposition in the scene is strong, with Col. Landa's interrogation techniques creating a sense of unease and challenge for the protagonist. The audience is unsure of how the interaction will unfold.

High Stakes: 9

The high stakes are evident in the meeting between Shosanna and Col. Landa, as both characters have much to lose. The tension is heightened by the power dynamics and manipulation at play.

Story Forward: 8

The scene moves the story forward by revealing key information about the characters and setting up future conflicts. It advances the plot and builds suspense.

Unpredictability: 8

This scene is unpredictable because of the shifting power dynamics, the hidden motives of the characters, and the unexpected reveals. The audience is kept guessing about the true intentions of each character.

Philosophical Conflict: 9

The philosophical conflict is between truth and deception, as Col. Landa uses his charm and interrogation skills to uncover secrets while the protagonist tries to conceal them. This challenges the protagonist's beliefs in honesty and integrity.


Audience Engagement

Emotional Impact: 7

The scene evokes feelings of tension, curiosity, and unease. The emotional impact is driven by the characters' interactions and the high stakes involved.

Dialogue: 8

The dialogue is tense, formal, and filled with subtext. It drives the scene forward and reveals the characters' motivations.

Engagement: 9

This scene is engaging because of the suspenseful interactions between the characters, the hidden agendas, and the underlying tension. The dialogue keeps the audience on edge and wanting to know more.

Pacing: 8

The pacing of the scene is effective in building tension and suspense, with well-timed reveals and character interactions. The rhythm of the dialogue enhances the scene's effectiveness.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene descriptions and character actions. The dialogue is formatted correctly and enhances the pacing of the scene.

Structure: 8

The scene follows a structured format with clear character interactions and dialogue. It builds tension effectively and advances the plot.


Critique
  • The scene effectively builds tension through the interplay between Col. Landa and Shosanna. Landa's charm juxtaposed with his sinister motives creates an unsettling atmosphere that keeps the audience engaged.
  • The use of food, particularly the strudel and milk, is a strong symbolic choice that reflects Shosanna's traumatic past. This adds depth to the interaction and enhances the emotional stakes, making Landa's actions more chilling.
  • The dialogue is sharp and reveals character dynamics well. Landa's manipulation of language and tone showcases his cunning nature, while Shosanna's anxious responses highlight her vulnerability. However, some lines could be tightened to increase the pacing.
  • The transition from light-hearted banter to serious interrogation is effective, but the pacing could benefit from a more gradual build-up. The shift feels slightly abrupt, and a few more moments of tension could enhance the impact.
  • Landa's ability to switch between charming and threatening is well portrayed, but there could be more emphasis on Shosanna's internal conflict. Her anxiety could be further illustrated through her physical reactions or internal thoughts, allowing the audience to connect more deeply with her fear.
Suggestions
  • Consider incorporating more physical cues from Shosanna, such as fidgeting or avoiding eye contact, to emphasize her anxiety and discomfort during the conversation.
  • Add a few more beats of silence or pauses in the dialogue to heighten the tension. This can create a more suspenseful atmosphere as the audience anticipates what will happen next.
  • Explore Landa's character further by including a moment where he reveals a glimpse of his past or his motivations. This could make him more complex and add layers to the conflict.
  • Revise some of the dialogue to make it more concise. For instance, Landa's lines could be trimmed to maintain a brisk pace while still conveying his menacing charm.
  • Consider ending the scene with a more pronounced cliffhanger or tension-building moment, such as Shosanna realizing the full extent of Landa's knowledge about her past, to leave the audience wanting more.



Scene 19 -  The Tension of Control
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","Thriller"]

Summary In a tense café meeting in occupied France, Col. Landa interrogates Shosanna about her projectionist employee, Marcel, and the affections of Private Zoller, whom she dismisses. Landa's flirtatious yet menacing demeanor unnerves Shosanna, who struggles to maintain her composure. As he leaves, Landa's manipulation leaves her feeling vulnerable, culminating in her realization that she has wet herself during the encounter. The scene juxtaposes the sinister power dynamics between them with the oblivious joy of an audience watching a German comedy, highlighting the facade of normalcy amidst the oppressive atmosphere.
Strengths
  • Tense atmosphere
  • Sharp dialogue
  • Complex character dynamics
  • High stakes
  • Emotional depth
Weaknesses
  • Pacing may be slow for some viewers
  • Limited action

Ratings
Overall

Overall: 9

The scene effectively builds tension and establishes the power dynamics between the characters, setting the stage for future conflicts and developments. The dialogue is sharp and engaging, adding depth to the characters and the overall narrative.


Story Content

Concept: 9

The concept of a secret meeting between Shosanna and Col. Landa, where both characters navigate a delicate dance of deception and manipulation, is executed with precision. The scene sets up a crucial turning point in the story and introduces key themes of power, control, and resistance.

Plot: 8

The plot advances significantly as Shosanna is drawn deeper into the web of Nazi propaganda, setting the stage for a high-stakes confrontation at her cinema. The scene effectively sets up future conflicts and resolutions, adding layers of complexity to the narrative.

Originality: 9

The scene introduces a fresh take on the World War II setting by exploring the internal conflicts and hidden agendas of the characters. The dialogue feels authentic and nuanced, adding depth to the narrative.


Character Development

Characters: 9

The characters of Shosanna and Col. Landa are well-developed and intriguing, with their hidden motives and conflicting agendas adding depth to the scene. Their interactions reveal layers of complexity and set the stage for future character arcs.

Character Changes: 7

While there are subtle shifts in the characters' dynamics, particularly in Shosanna's growing defiance and Col. Landa's manipulative tactics, the scene primarily sets the stage for future character development and conflicts.

Internal Goal: 8

Shosanna's internal goal is to maintain composure and hide her true feelings and intentions, despite being in a dangerous situation with Col. Landa.

External Goal: 7

Shosanna's external goal is to navigate the conversation with Col. Landa and ensure the success of the cinema screening event.


Scene Elements

Conflict Level: 9

The conflict in the scene is palpable, as Shosanna and Col. Landa engage in a battle of wits and hidden agendas. The tension between the characters adds depth to the narrative and sets the stage for future confrontations.

Opposition: 7

The opposition in the scene is strong, with Col. Landa's probing questions and subtle threats creating a sense of danger and conflict for Shosanna. The audience is left uncertain about the outcome of their interaction.

High Stakes: 9

The stakes are high in the scene, as Shosanna navigates a dangerous game with Col. Landa, risking exposure and retaliation. The outcome of their interaction has far-reaching consequences, setting the stage for future conflicts and resolutions.

Story Forward: 9

The scene significantly moves the story forward by establishing key plot points, character dynamics, and thematic elements. It sets the stage for future conflicts and resolutions, adding depth to the overall narrative.

Unpredictability: 8

This scene is unpredictable because of the shifting power dynamics, hidden agendas, and moral ambiguity of the characters. The audience is kept guessing about the characters' true intentions and motivations.

Philosophical Conflict: 9

There is a philosophical conflict between Shosanna's desire for revenge against the Nazis and her need to maintain a facade of compliance and cooperation.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, including fear, tension, and defiance, as Shosanna navigates a dangerous encounter with Col. Landa. The emotional stakes are high, adding depth to the character dynamics and the overall narrative.

Dialogue: 9

The dialogue is sharp, engaging, and laden with subtext, adding tension and depth to the scene. The verbal sparring between Shosanna and Col. Landa reveals their true intentions and sets the stage for future conflicts.

Engagement: 9

This scene is engaging because of its blend of suspense, dark humor, and moral complexity. The interactions between the characters keep the audience on edge and invested in the outcome.

Pacing: 8

The pacing of the scene is effective in building tension and suspense, with well-timed moments of revelation and conflict. The rhythm of the dialogue and actions keeps the audience engaged.


Technical Aspect

Formatting: 8

The scene follows the expected format for its genre, with clear scene descriptions, character actions, and dialogue cues. The formatting enhances the readability and impact of the scene.

Structure: 8

The scene follows a well-paced structure, with a clear progression of tension and conflict. The dialogue and actions flow naturally, building towards a climactic moment.


Critique
  • The dialogue between Col. Landa and Shosanna is effective in showcasing the power dynamics at play. Landa's manipulative charm juxtaposed with Shosanna's apprehension creates a palpable tension that keeps the audience engaged. However, the scene could benefit from more subtext in their exchanges to deepen the emotional stakes.
  • Shosanna's characterization is strong, as her fear and defiance are evident. However, the scene could explore her internal conflict more explicitly. For instance, her memories of her family could be subtly referenced or hinted at to enhance her emotional state during the conversation with Landa.
  • The use of visual motifs, such as the strudel and the cigarette, is clever in conveying Landa's character. Still, the scene could incorporate more visual storytelling elements that reflect Shosanna's inner turmoil. For example, small actions or props in the background could symbolize her past and current situation.
  • Landa's casual racism when referring to Marcel could be made more impactful. Instead of just stating it matter-of-factly, he could employ a more insidious tone that reveals his true beliefs while still maintaining his charm, adding layers to his character.
  • The climax of the scene, where Shosanna realizes she has urinated herself, is a strong visual and emotional moment. However, it feels somewhat abrupt. A more gradual build-up to this realization could enhance the shock value and the audience's connection to her character.
Suggestions
  • Incorporate more subtext in the dialogue, allowing Landa's true intentions to be hinted at through indirect comments or questions that provoke deeper thought from Shosanna.
  • Consider adding a brief flashback or a physical reminder of Shosanna's family during the conversation to heighten her emotional stakes and deepen the audience's understanding of her character.
  • Enhance the visual storytelling by including background elements that symbolize Shosanna's past and her current predicament, creating a richer atmosphere.
  • Revise Landa's dialogue to include more subtle racism that reveals his character's insidious nature, making the audience feel the weight of his words without overtly stating them.
  • Gradually build up to Shosanna's realization of her wetting herself by including small signs of her distress throughout the conversation, which would make the moment feel more earned and impactful.



Scene 20 -  A Cinema of Vengeance
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 After witnessing the Nazi takeover of her cinema, Shosanna reveals her plan to burn it down with the Nazis inside. Shosanna's lover, Marcel, initially expresses concern but ultimately supports her, and the scene ends with them embracing, foreshadowing a dangerous and vengeful act.
Strengths
  • Intense atmosphere
  • Complex character dynamics
  • High stakes
  • Innovative plot elements
Weaknesses
  • Potential for excessive violence
  • Complexity of plot elements may require careful handling

Ratings
Overall

Overall: 9

The scene is highly engaging, filled with tension, emotion, and significant plot developments. It sets up a major conflict and introduces unique elements that drive the story forward.


Story Content

Concept: 9

The concept of burning down the cinema during a Nazi premiere is innovative and adds a layer of suspense and high stakes to the scene. The idea of making a film for the Nazis introduces a complex and intriguing plot element.

Plot: 9

The plot is rich with tension, conflict, and character dynamics. The scene moves the story forward significantly and sets up important developments for the narrative.

Originality: 9

The scene presents a fresh approach to the theme of resistance during the Nazi occupation, with a focus on using cinema as a tool for sabotage. The characters' actions and dialogue feel authentic and contribute to the tension of the scene.


Character Development

Characters: 8

The characters, especially Shosanna and Marcel, are well-developed and their interactions drive the scene forward. The introduction of high-ranking Nazi officials adds depth to the character dynamics.

Character Changes: 7

Shosanna shows a determination to resist the Nazis and seek revenge, while Marcel demonstrates loyalty and support for her plans. The scene sets up potential character growth and development in future scenes.

Internal Goal: 9

Shosanna's internal goal is to resist the Nazis and seek revenge for her family's death. This reflects her deeper desire for justice and liberation from oppression.

External Goal: 8

Shosanna's external goal is to sabotage the Nazi premiere and burn down the cinema. This reflects the immediate challenge of resisting the Nazis and seeking revenge.


Scene Elements

Conflict Level: 9

The conflict in the scene is high, with tensions running high between the characters and the looming threat of the Nazi premiere. The plan to burn down the cinema adds a layer of intense conflict.

Opposition: 8

The opposition in the scene is strong, with conflicting values and goals between the characters. The audience is left uncertain of how the conflict will be resolved.

High Stakes: 9

The stakes are high in the scene, with the plan to burn down the cinema during a Nazi premiere and the presence of high-ranking Nazi officials adding tension and danger. The characters face significant risks and consequences.

Story Forward: 9

The scene moves the story forward significantly, setting up important plot developments and conflicts. The plan to burn down the cinema and the introduction of high-ranking Nazi officials add complexity to the narrative.

Unpredictability: 8

This scene is unpredictable because of the unexpected twists in the characters' actions and dialogue. The audience is kept on edge, unsure of how the conflict will unfold.

Philosophical Conflict: 9

The philosophical conflict is between the values of resistance and collaboration. Shosanna and Marcel represent the resistance, while the Nazis represent collaboration with oppressive forces. This challenges Shosanna's beliefs in justice and freedom.


Audience Engagement

Emotional Impact: 8

The scene evokes strong emotions from the characters and the audience, with themes of revenge, defiance, and resistance driving the emotional impact. The intimate conversation between Shosanna and Marcel adds depth to the emotional resonance of the scene.

Dialogue: 8

The dialogue is intense, emotional, and drives the plot forward. It reveals character motivations, conflicts, and sets up important developments for the story.

Engagement: 9

This scene is engaging because of its high stakes, dramatic tension, and complex character dynamics. The audience is drawn into the conflict and invested in the outcome.

Pacing: 8

The pacing of the scene is effective in building tension and suspense, with a balance of dialogue and action. The rhythm of the scene keeps the audience engaged and invested in the characters' choices.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for a screenplay, with clear scene descriptions and character dialogue. The visual elements are well-described and contribute to the atmosphere of the scene.

Structure: 8

The scene follows the expected structure for a dramatic confrontation, with rising tension and clear character motivations. The pacing and rhythm contribute to the effectiveness of the scene.


Critique
  • The scene effectively builds tension and highlights Shosanna's resilience and determination in the face of Nazi oppression. The juxtaposition of the lavish decorations for the premiere against Shosanna's internal conflict creates a powerful visual and thematic contrast.
  • The dialogue between Shosanna and Marcel is intimate and layered, revealing their close relationship while also underscoring the gravity of their situation. However, the transition from discussing the premiere to plotting revenge feels slightly abrupt; a smoother transition could enhance the flow of the scene.
  • The use of French and English in the dialogue adds authenticity and emphasizes the cultural conflict, but it may alienate some viewers who do not understand French. Providing more context or visual cues could help bridge this gap.
  • The montage sequence is visually striking and effectively conveys the absurdity of the Nazis' plans to beautify the cinema. However, it might benefit from a more explicit connection to Shosanna's emotional state. Adding a shot of her reaction during the montage could deepen the audience's understanding of her feelings.
  • The climactic moment when Shosanna reveals her plan to burn down the cinema is impactful, but the rationale behind her decision could be more fleshed out. Exploring her motivations further could enhance the dramatic weight of the moment.
  • The physical intimacy between Shosanna and Marcel is well-executed, but it risks overshadowing the urgency of their plan. Balancing the romantic elements with the gravity of their situation is crucial to maintaining the scene's tension.
Suggestions
  • Consider adding a moment where Shosanna reflects on the absurdity of the Nazis' plans, perhaps through a brief internal monologue or a visual cue that highlights her disdain for their actions.
  • Smooth out the transition from discussing the premiere to the plot to burn down the cinema. This could be achieved by having Shosanna express her frustration with the Nazis more explicitly before revealing her plan.
  • Include a visual or dialogue cue that reinforces the stakes of their plan, such as a reminder of the lives at risk or the consequences of failure, to heighten the tension.
  • To enhance the emotional impact, consider showing a brief flashback or memory that connects Shosanna's past to her present motivations for revenge, providing a deeper emotional anchor for her actions.
  • Maintain the intimacy between Shosanna and Marcel while ensuring that the urgency of their plan remains front and center. This could involve cutting some of the more romantic dialogue to focus more on the logistics of their plan.



Scene 21 -  The Film Critic's Test
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","Thriller"]

Summary In a grand English country estate, Lieutenant Hicox, a film critic, finds himself unexpectedly interviewed by General Fenech in the presence of Winston Churchill. Fenech, assessing Hicox's knowledge of German cinema, probes him about the quality of Nazi-era propaganda films. The scene builds tension as Hicox struggles to balance his desire to impress with his honesty, leading to Fenech's final challenge: to explain the state of German cinema during the Third Reich.
Strengths
  • Engaging dialogue
  • Intriguing concept
  • Informative exposition
Weaknesses
  • Minimal emotional impact
  • Limited character development

Ratings
Overall

Overall: 8

The scene is engaging, informative, and sets up an important mission. The dialogue is well-written and the introduction of Lt. Hicox adds depth to the story.


Story Content

Concept: 8

The concept of using a film critic with a background in undercover operations to discuss German cinema under the Third Reich is unique and intriguing. It sets the stage for a covert operation and adds depth to the story.

Plot: 7

The plot of the scene focuses on setting up a covert operation and discussing the role of German cinema under the Third Reich. It moves the story forward by introducing key characters and establishing the mission.

Originality: 9

The scene introduces fresh perspectives on historical events and characters, with authentic dialogue and interactions.


Character Development

Characters: 8

Lt. Hicox is introduced as a complex character with a background in undercover operations and film criticism. General Fenech and Winston Churchill add gravitas to the scene.

Character Changes: 4

There is minimal character change in this scene, as it is more focused on introducing characters and setting up the mission.

Internal Goal: 8

Lt. Hicox's internal goal is to impress the military leaders and showcase his knowledge and expertise, reflecting his desire for recognition and validation.

External Goal: 7

Lt. Hicox's external goal is to gather information and contribute to the mission 'Operation Kino', reflecting the immediate circumstances and challenges of the war.


Scene Elements

Conflict Level: 6

While there is tension in the scene, the conflict is more subtle and revolves around the discussion of German cinema under the Third Reich.

Opposition: 7

The opposition in the scene is strong, with conflicting ideologies and hidden agendas among the characters, creating suspense and intrigue.

High Stakes: 7

The stakes are high as the characters are discussing a covert operation and the role of German cinema in propaganda during World War II.

Story Forward: 8

The scene moves the story forward by introducing key characters, setting up the mission, and providing important background information.

Unpredictability: 7

The scene is unpredictable due to the unexpected presence of Winston Churchill and the shifting dynamics between the characters.

Philosophical Conflict: 9

The philosophical conflict revolves around the portrayal of German cinema under the Third Reich and the political motivations behind it, challenging the protagonist's beliefs in art and propaganda.


Audience Engagement

Emotional Impact: 5

The emotional impact is minimal in this scene, focusing more on setting up the mission and introducing key characters.

Dialogue: 9

The dialogue is informative, engaging, and sets the stage for the covert operation. It reveals important information about the characters and their backgrounds.

Engagement: 9

This scene is engaging due to its mix of humor, tension, and historical intrigue, keeping the audience interested in the characters and their interactions.

Pacing: 8

The pacing of the scene is effective in building tension and revealing character traits, enhancing the overall impact of the dialogue and interactions.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for a screenplay, with proper scene descriptions and character actions.

Structure: 8

The scene follows the expected structure for a historical drama, with clear character introductions and dialogue sequences.


Critique
  • The scene effectively sets the tone for the upcoming operation by introducing Lt. Hicox and establishing his expertise in film criticism, which is crucial for the mission. However, the scene could benefit from a more dynamic opening to capture the audience's attention immediately.
  • The dialogue between Lt. Hicox and Gen. Fenech is informative but could be more engaging. As it stands, it reads more like an exposition dump than a natural conversation. The characters' personalities could be further developed through more nuanced dialogue that reveals their motivations and emotions.
  • Churchill's presence adds an interesting layer to the scene, but his dialogue feels a bit forced and does not contribute significantly to the tension or urgency of the moment. It may be beneficial to streamline his lines to make them feel more organic and impactful.
  • While the scene does a good job of establishing the stakes and the knowledge required for the mission, it lacks a sense of immediate conflict or urgency. Adding a time constraint or a looming threat could heighten the tension and engage the audience more effectively.
  • The setting of an English country estate is a nice touch, but it could be described in more detail to create a vivid image for the audience. Specific visual details could enhance the atmosphere and make the scene more immersive.
Suggestions
  • Consider starting the scene with a more dynamic action or visual element, such as Lt. Hicox entering the room with a sense of urgency or tension, to immediately engage the audience.
  • Revise the dialogue to make it feel more natural and character-driven. Incorporate subtext and emotional stakes that reveal more about Hicox and Fenech's personalities and their relationship.
  • Streamline Churchill's dialogue to make his contributions feel more impactful and relevant to the scene. Consider reducing the number of lines he has or making them more concise.
  • Introduce an immediate conflict or urgency to the scene, such as a ticking clock or a sense of impending danger, to keep the audience on the edge of their seats.
  • Enhance the setting description to create a more vivid and immersive experience for the audience. Consider adding sensory details that evoke the atmosphere of the English country estate.



Scene 22 -  Operation Kino: A Deadly Premiere
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 Lieutenant Hicox is tasked with a dangerous mission: Operation Kino, a plan to assassinate Goebbels and the Nazi high command during the premiere of a new film. He is introduced to the American Secret Service 'Basterds,' led by Lieutenant Aldo Raine, and learns about their double agent, German movie star Bridget von Hammersmark. The scene is a mix of seriousness and humor, highlighting the danger of the mission while emphasizing the camaraderie and playful personalities of the characters.
Strengths
  • Complex plot
  • Well-developed characters
  • Tense dialogue
  • High stakes
  • Emotional depth
Weaknesses
  • Limited character development in this specific scene

Ratings
Overall

Overall: 9

The scene is highly engaging, with a complex plot, well-developed characters, and intense dialogue that keeps the audience on edge.


Story Content

Concept: 9

The concept of a covert operation to sabotage a Nazi event is compelling and sets the stage for high tension and dramatic conflict.

Plot: 9

The plot is intricate and well-developed, with multiple layers of deception, danger, and suspense driving the narrative forward.

Originality: 9

The scene presents a fresh take on the World War II genre, blending historical accuracy with fictional elements. The characters' actions and dialogue feel authentic and engaging.


Character Development

Characters: 9

The characters are well-defined and their interactions add depth to the scene, showcasing their motivations, fears, and loyalties.

Character Changes: 7

While there are no significant character changes in this scene, the interactions and revelations set the stage for potential growth and transformation in future scenes.

Internal Goal: 8

Lt. Hicox's internal goal is to successfully carry out Operation Kino and sabotage the Nazi event. This reflects his desire to contribute to the war effort and defeat the enemy.

External Goal: 9

Lt. Hicox's external goal is to blow up the basket of high-ranking Nazi officials attending the gala premiere in Paris. This goal reflects the immediate challenge he faces in the mission.


Scene Elements

Conflict Level: 9

The conflict is high, with multiple layers of deception, danger, and personal stakes driving the tension and suspense.

Opposition: 8

The opposition in the scene is strong, with the characters facing challenges and obstacles that add tension and suspense to the mission briefing.

High Stakes: 9

The stakes are extremely high, with the success of the mission determining the outcome of a critical operation against the Nazis.

Story Forward: 9

The scene moves the story forward significantly, setting up the mission, introducing key characters, and establishing the high stakes of the operation.

Unpredictability: 8

This scene is unpredictable because of the unexpected twists in the mission briefing and the introduction of new characters and plot elements.

Philosophical Conflict: 7

The philosophical conflict in this scene is the moral dilemma of using violence and deception to achieve a greater good. Lt. Hicox and the Allied forces must grapple with the ethical implications of their actions in the war.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from fear and suspense to hope and determination, drawing the audience into the characters' struggles.

Dialogue: 8

The dialogue is sharp, revealing character dynamics and building tension through subtle exchanges and verbal sparring.

Engagement: 9

This scene is engaging because of the dynamic interactions between the characters, the high stakes of the mission, and the blend of tension and humor.

Pacing: 9

The pacing of the scene is well-executed, with a balance of exposition and character development that keeps the audience engaged.


Technical Aspect

Formatting: 9

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

Structure: 9

The scene follows the expected structure for a dialogue-heavy, exposition scene in a war film. The pacing and rhythm of the dialogue contribute to its effectiveness.


Critique
  • The scene effectively builds tension and sets the stakes for Operation Kino, but it could benefit from more visual storytelling elements. The dialogue is strong, but adding visual cues or character reactions could enhance the audience's engagement and understanding of the characters' emotions.
  • While the dialogue is informative, it can come across as expository. The characters are delivering a lot of information, which may feel heavy-handed. Finding ways to weave in this exposition through action or more dynamic interactions could make the scene feel more organic.
  • The humor in Lt. Hicox's responses adds levity to the otherwise serious subject matter, but it risks undermining the gravity of the mission. Balancing the humor with the tension of the upcoming operation is crucial to maintaining the scene's stakes.
  • The introduction of Bridget von Hammersmark as a double agent is intriguing, but it may benefit from a more detailed description of her character or a hint of her motivations. This could create anticipation and depth for her role in the operation.
  • The use of Churchill as a background character is interesting, but he could be more actively involved in the conversation. His presence adds weight, but more direct engagement with the other characters could enhance his authority and the scene's overall tension.
Suggestions
  • Incorporate visual elements that reflect the characters' emotions and the gravity of their mission, such as close-ups of their expressions or reactions to the information being shared.
  • Consider breaking up the exposition with action or movement, such as characters interacting with their environment or each other, to keep the pacing dynamic and engaging.
  • Evaluate the balance of humor and tension; ensure that the comedic elements do not detract from the seriousness of the mission being discussed.
  • Provide a brief backstory or insight into Bridget von Hammersmark's character to heighten the audience's interest and investment in her role in the operation.
  • Enhance Churchill's role by having him interject with insightful comments or questions, making him a more active participant in the discussion and reinforcing his significance in the operation.



Scene 23 -  The Unyielding Resolve
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: ["Drama","Thriller","War"]

Summary Shosanna and Marcel are preparing to film a scene, needing to sync the picture and sound. They decide to clap their hands to create a sync mark. In a flashback to an earlier scene in the lobby, they discuss their plan to burn down the cinema. This flashback is in color, unlike the earlier scene. They discuss how to get a 35mm print of their footage developed and printed. Shosanna suggests they find someone to do it or kill them. They find Gaspar, a film processor, and threaten him with a hatchet, forcing him to develop the film for them. They then give the film to Gaspar, and we see Shosanna splicing her footage into Fredrick Zoller’s film, replacing Reel 4 with their own. Shosanna walks out of the projection booth, plunging the screen into darkness.
Strengths
  • Strong character development
  • High tension
  • Innovative thematic exploration
Weaknesses
  • Potential pacing issues due to heavy dialogue

Ratings
Overall

Overall: 8.5

The scene successfully escalates tension through Shosanna’s and Marcel’s ruthless determination to create a deadly film reel to confront the Nazis. The high stakes and dark decisions made by the characters contribute to a gripping narrative.


Story Content

Concept: 9

The concept of filmmakers turning their craft into a weapon against an oppressive regime is unique and innovative, cleverly intertwining the art of cinema with themes of resistance and vengeance.

Plot: 8

The plot involves a significant development in the mission against the Nazis, showcasing how personal vendettas can align with larger wartime efforts.

Originality: 9

The scene offers a fresh take on the World War II genre by focusing on a female protagonist seeking revenge against the Nazis. The characters' actions and dialogue feel authentic and compelling, adding originality to the narrative.


Character Development

Characters: 8

Shosanna exhibits fierce determination and an unexpected ruthlessness, while Marcel displays loyalty and a degree of apprehension, providing a dynamic tension in their partnership.

Character Changes: 8

Shosanna undergoes a significant transformation as she embraces her vengeful identity, while Marcel reflects a shift from unsure partner to active accomplice.

Internal Goal: 8

Shosanna's internal goal is to seek revenge against the Nazis for the death of her family. This reflects her deeper desire for justice and retribution.

External Goal: 7

The protagonist's external goal is to create a film to expose the Nazis and seek vengeance. This reflects the immediate challenge of navigating the dangerous political landscape.


Scene Elements

Conflict Level: 9

The scene is charged with both external and internal conflict as Shosanna navigates her desire for vengeance against the ethical dilemmas of choosing violence.

Opposition: 8

The opposition in the scene is strong, with characters facing difficult moral choices and dangerous consequences. The audience is left uncertain of how the characters will navigate the challenges ahead.

High Stakes: 9

The stakes are incredibly high, with a clear threat of violent repercussions if they fail, placing both characters in grave danger.

Story Forward: 9

The scene markedly advances the plot by setting in motion the plans for retaliation against the Nazis, clearly establishing the stakes for future encounters.

Unpredictability: 8

This scene is unpredictable because of the characters' conflicting motivations and the high stakes involved. The audience is kept on edge, unsure of how the situation will unfold.

Philosophical Conflict: 9

The philosophical conflict in this scene is the moral dilemma of using violent tactics to fight against evil. Shosanna and Marcel debate the ethics of their actions, highlighting the clash between their values and the harsh reality of war.


Audience Engagement

Emotional Impact: 8

The emotional stakes are high, as we witness Shosanna’s transformation from victim to avenger, which evokes both sympathy and a sense of empowerment.

Dialogue: 8

The dialogue effectively conveys urgency and emotional stakes, with Shosanna’s assertive lines contrasting with Gaspar’s fear, enhancing the menacing atmosphere.

Engagement: 9

This scene is engaging because of its intense dialogue, moral dilemmas, and high stakes. The tension and suspense keep the audience invested in the characters' actions and motivations.

Pacing: 8

The pacing of the scene is effective in building tension and suspense, with a balance of dialogue, action, and character development. The rhythm of the scene enhances its impact and keeps the audience engaged.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene descriptions, dialogue, and action lines. The formatting enhances the readability and impact of the scene.

Structure: 8

The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution. The pacing and rhythm contribute to its effectiveness.


Critique
  • The scene effectively captures the tension and desperation of Shosanna and Marcel's situation, showcasing their determination to fight back against the Nazis. The dialogue is sharp and reflects their personalities well, particularly Shosanna's fierce resolve.
  • The use of humor, particularly in Marcel's 'In frame, imbecile' line, adds a layer of levity to an otherwise dark scene. However, this humor may undermine the gravity of their situation if not balanced carefully.
  • The transition from the sync mark discussion to the earlier conversation about burning down the cinema is visually and thematically effective, reinforcing the stakes of their plan. However, the shift to color could be more impactful if it were tied to a specific emotional or narrative beat.
  • Shosanna's character development is strong in this scene, as she moves from a position of fear and vulnerability to one of power and aggression. However, her sudden willingness to resort to violence may require further justification to avoid feeling abrupt.
  • The scene's pacing is well-managed, building tension through dialogue and action. However, the abruptness of the cut to Gaspar's beating could be jarring for some viewers. A smoother transition or additional context could enhance the emotional weight of this moment.
  • The visual descriptions are vivid and effectively create a sense of place. However, the scene could benefit from more sensory details to immerse the audience further, such as sounds of the film processing lab or the atmosphere of the tavern.
Suggestions
  • Consider deepening the emotional stakes by adding a moment where Shosanna reflects on her past or the consequences of their actions, enhancing the audience's connection to her character.
  • Explore the dynamics between Shosanna and Marcel further. Adding a moment of hesitation or doubt from Marcel could heighten the tension and showcase the risks they are taking.
  • Revise the dialogue to ensure that the humor complements the tension rather than detracts from it. Perhaps have Marcel's humor serve as a coping mechanism for the dire situation.
  • Enhance the transition to the earlier scene by using a visual motif or thematic element that ties both moments together more clearly, emphasizing the evolution of Shosanna's character.
  • Consider using more sensory details to enhance the atmosphere, such as the sounds of the film processing equipment, the smell of chemicals, or the oppressive silence of the lab, to create a more immersive experience.



Scene 24 -  The Calm Before the Storm
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: ["War","Drama","Thriller"]

Summary The Basterds, including Lt. Hicox, Stiglitz, Aldo, and Donowitz, gather in a tense atmosphere, preparing for a dangerous rendezvous. Hicox expresses concern about maintaining calm, but Stiglitz, sharpening his dagger, suggests swift action should trouble arise. The scene contrasts the Basterds' tense anticipation with a scene of German soldiers, including Bridget von Hammersmark, playing a lighthearted game in the basement tavern, La Louisiane. The arrival of a lone Nazi soldier outside the tavern further heightens the tension, setting the stage for an inevitable confrontation.
Strengths
  • Tension-building
  • Intrigue
  • Sharp dialogue
Weaknesses
  • Limited emotional depth
  • Some predictable elements

Ratings
Overall

Overall: 8

The scene effectively combines tension, humor, and intrigue to engage the audience and advance the plot.


Story Content

Concept: 8

The concept of using a game to mask espionage activities adds depth to the scene and showcases the characters' strategic thinking.

Plot: 8

The plot is advanced through the introduction of high-stakes espionage and the potential for conflict between the characters.

Originality: 9

The scene offers a fresh take on wartime interactions, blending humor and suspense in a unique way. The characters' actions and dialogue feel authentic and engaging.


Character Development

Characters: 7

The characters are well-defined and their interactions reveal their motivations and loyalties.

Character Changes: 6

There are subtle shifts in the characters' dynamics, but no major transformations occur in this scene.

Internal Goal: 8

The protagonist's internal goal is to maintain control and composure in a potentially dangerous situation, showcasing his leadership and strategic thinking.

External Goal: 7.5

The protagonist's external goal is to ensure the success of the mission by making contact with their agent and preventing any Germans from escaping the basement.


Scene Elements

Conflict Level: 8

The conflict between the undercover agents and the Nazis creates a tense atmosphere and raises the stakes.

Opposition: 8

The opposition in the scene is strong, with conflicting goals and motivations between the characters creating tension and uncertainty.

High Stakes: 8

The high stakes of the espionage mission and the potential for discovery create a sense of urgency and danger.

Story Forward: 9

The scene significantly moves the story forward by introducing key plot points and setting up future conflicts.

Unpredictability: 8

This scene is unpredictable due to the shifting dynamics between the characters and the unexpected twists in the dialogue.

Philosophical Conflict: 8

The philosophical conflict revolves around the difference in approach between the military strategist and the actress, highlighting the tension between practicality and idealism in wartime decision-making.


Audience Engagement

Emotional Impact: 6

While there is tension and intrigue, the emotional impact is somewhat muted in this scene.

Dialogue: 7

The dialogue is sharp and reveals the characters' personalities and intentions effectively.

Engagement: 9

This scene is engaging due to its blend of suspense, humor, and character dynamics. The escalating tension keeps the audience invested in the outcome.

Pacing: 8.5

The pacing of the scene effectively builds tension and suspense, keeping the audience engaged and invested in the outcome.


Technical Aspect

Formatting: 8

The scene follows the expected format for its genre, with clear scene descriptions, character actions, and dialogue.

Structure: 8

The scene follows a clear structure, with well-defined character interactions and escalating tension. It effectively builds towards the climax of the scene.


Critique
  • The scene effectively establishes tension through the contrasting moods of the Basterds and the German soldiers. The juxtaposition between Lt. Hicox's serious demeanor and the light-hearted game being played by the Nazis creates a palpable sense of foreboding, enhancing the stakes of the upcoming rendezvous.
  • Stiglitz's characterization is intriguing; his silent menace adds to the tension. However, the dialogue could benefit from more depth to fully explore his backstory and motivations. This would enhance the audience's understanding of his character and his relationship with the other Basterds.
  • The dialogue among the Basterds feels natural and captures their camaraderie, but it sometimes veers into exposition-heavy territory. The discussions about Fräulein von Hammersmark's decisions could be streamlined to maintain pacing and avoid redundancy.
  • The humor in the scene, particularly through the banter about the rendezvous and the Nazi soldier urinating, is effective but could risk undermining the tension if not balanced carefully. The comedic elements should serve to heighten the stakes rather than distract from them.
  • The transition from the Basterds' serious planning to the light-hearted atmosphere of the tavern is well-executed, but the scene could benefit from a stronger visual cue or a more pronounced shift in tone to emphasize this contrast.
Suggestions
  • Consider deepening Stiglitz's character through a brief flashback or a line of dialogue that hints at his past, which might explain his demeanor and build empathy with the audience.
  • Streamline the dialogue regarding Fräulein von Hammersmark's choice of meeting place to avoid redundancy. Perhaps have a character express concern in a more concise way to maintain pacing.
  • Balance the humor with the tension by ensuring that comedic moments do not detract from the seriousness of the mission. Perhaps use humor to build camaraderie rather than as a distraction from the impending danger.
  • Introduce a stronger visual or auditory cue when transitioning between the Basterds' serious planning and the jovial atmosphere of the tavern to enhance the contrast and maintain audience engagement.
  • Consider adding a moment of foreshadowing or a subtle hint about the impending chaos that will ensue, perhaps through a character's uneasy feeling or a minor detail in the environment that suggests danger.



Scene 25 -  A Game of History and a Cinema Change
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: ["War","Drama","Thriller"]

Summary In a basement tavern, Winnetou, convinced he's American, continues a boisterous game of guessing historical figures with German soldiers. Bridget von Hammersmark leaves the table to join three confused counterfeit officers, who are skeptical of the game and the new venue for the upcoming cinema showing.
Strengths
  • Engaging dialogue
  • Character development
  • Tension and suspense
  • Humorous elements
Weaknesses
  • Limited emotional impact
  • Lack of major character changes

Ratings
Overall

Overall: 8

The scene effectively combines tension, humor, and character development, making it engaging and memorable.


Story Content

Concept: 8

The concept of undercover agents interacting with enemy soldiers in a tavern setting is executed well, adding depth to the characters and advancing the plot.

Plot: 7

The plot progresses as new developments are revealed, setting the stage for future events and conflicts.

Originality: 9

The scene introduces fresh perspectives on character nationality and authorship, challenging traditional conventions. The characters' actions and dialogue feel authentic and contribute to the scene's originality.


Character Development

Characters: 9

The characters are well-developed and their interactions reveal their personalities, motivations, and relationships, adding depth to the scene.

Character Changes: 6

There is some development in the characters' relationships and dynamics, but no major character changes occur in this scene.

Internal Goal: 8

The protagonist's internal goal is to maintain her cover and gather information while engaging in a social game with the German soldiers. This reflects her deeper need to succeed in her mission and protect her identity.

External Goal: 7

The protagonist's external goal is to navigate the changing circumstances and maintain her composure in front of the German soldiers. This reflects the immediate challenges she faces in her undercover operation.


Scene Elements

Conflict Level: 7

There is a moderate level of conflict as the undercover agents navigate their mission while interacting with enemy soldiers, leading to tension and suspense.

Opposition: 7

The opposition in the scene is strong, with underlying tensions and conflicting motivations among the characters. The audience is left unsure of how the interactions will unfold, adding suspense to the scene.

High Stakes: 7

The stakes are moderately high as the undercover agents must maintain their cover while interacting with enemy soldiers, risking exposure and failure.

Story Forward: 8

The scene moves the story forward by introducing new developments, conflicts, and setting the stage for future events.

Unpredictability: 7

This scene is unpredictable due to the shifting dynamics between the characters and the unexpected twists in the dialogue. The audience is kept on their toes as the scene unfolds.

Philosophical Conflict: 7

The philosophical conflict revolves around the characters' nationalities and identities, challenging traditional beliefs about authorship and character nationality. This conflict relates to the protagonist's worldview and the complexities of perception.


Audience Engagement

Emotional Impact: 6

The scene elicits a mix of emotions, including tension, humor, and intrigue, but does not have a significant emotional impact.

Dialogue: 8

The witty and engaging dialogue enhances the scene, showcasing the characters' personalities and relationships.

Engagement: 9

This scene is engaging because of its blend of humor, tension, and character dynamics. The interactions between the characters and the unfolding mystery keep the audience invested in the story.

Pacing: 8

The pacing of the scene contributes to its effectiveness by balancing dialogue-heavy moments with action sequences, creating a dynamic rhythm that keeps the audience engaged. The scene unfolds at a steady pace, building tension gradually.


Technical Aspect

Formatting: 8

The scene's formatting adheres to the expected format for its genre, with clear scene descriptions, character cues, and dialogue formatting. It enhances readability and visual storytelling.

Structure: 8

The scene follows a structured format that balances dialogue, action, and character interactions effectively. It maintains a cohesive flow and builds tension gradually.


Critique
  • The dialogue is lively and humorous, showcasing the camaraderie among the characters. However, there are moments where the humor may overshadow the tension of the scene. Given the high stakes of the characters' situation, balancing levity with a sense of urgency would enhance the dramatic tension.
  • The introduction of the counterfeit German officers is effective, but their initial reactions to the boisterous game could be more pronounced. Their expressions or body language could convey their discomfort or suspicion, adding to the tension as they interact with Bridget and the German soldiers.
  • Bridget's transition from one table to another is smooth, but it could benefit from a stronger visual cue or action that highlights her dual allegiance. For instance, a moment of hesitation or a glance back at her friends before she joins the Germans could emphasize her internal conflict.
  • While the game of guessing characters provides a comedic element, it feels somewhat disconnected from the overarching narrative. It might be more impactful if the game were tied to their mission in some way, perhaps by incorporating historical figures relevant to their situation.
  • The scene lacks a clear emotional arc. While the humor is engaging, it would be beneficial to introduce an element of stakes or conflict within the game itself, such as a hint of danger or the potential for exposure that could escalate the tension.
Suggestions
  • Consider incorporating more subtle hints of the characters' true identities and stakes during the game. This could involve dialogue that hints at their mission or a moment where a character almost reveals too much.
  • Enhance the tension by having the counterfeit officers display more visible discomfort or suspicion as they observe the German soldiers' revelry. This could be achieved through tighter framing on their faces or subtle gestures.
  • Add a moment where Bridget visibly weighs her decision to join the Germans, perhaps by reflecting on her mission or her relationships with the Basterds. This could deepen her character and heighten the stakes.
  • Integrate the guessing game with the overarching narrative by having the characters guess historical figures that relate to their current situation, creating a more cohesive scene.
  • Incorporate a moment of foreshadowing or a hint of danger that disrupts the lightheartedness of the game, reminding the audience that the characters are in a precarious situation.



Scene 26 -  The Sergeant's Suspicion
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","Thriller"]

Summary Bridget informs her group of American soldiers, disguised as German officers, that the cinema event has been moved to a smaller venue and that the Führer will attend. Sergeant Pola Negri, a real German soldier, becomes smitten with Bridget and disrupts the meeting with his relentless attention. Lt. Hicox tries to dismiss him, but his own questionable German accent raises the real sergeant's suspicion, creating a tense standoff between the two groups.
Strengths
  • Tension-filled dialogue
  • Complex character dynamics
  • High stakes and suspense
  • Dark humor
  • Engaging plot progression
Weaknesses
  • Some characters may need more development
  • Certain plot points could be further clarified

Ratings
Overall

Overall: 9

The scene is highly engaging, with a mix of tension, drama, and dark humor that keeps the audience on edge. The high stakes and intricate character interactions make it a standout moment in the screenplay.


Story Content

Concept: 9

The concept of a covert meeting between undercover operatives and German soldiers, set against the backdrop of World War II, is compelling and well-executed. The scene effectively conveys the risks and complexities of espionage.

Plot: 8

The plot advances significantly in this scene, as the characters navigate a dangerous situation and make crucial decisions that will impact the outcome of the mission. The tension and conflict are palpable, driving the narrative forward.

Originality: 9

The scene introduces fresh elements such as the interaction between undercover operatives and German soldiers, adding authenticity to the characters' actions and dialogue. The use of humor in tense situations is a unique approach that sets the scene apart.


Character Development

Characters: 9

The characters are well-developed and their interactions are layered with tension, deception, and hidden agendas. Each character's motivations and loyalties are tested, adding depth to the scene.

Character Changes: 7

Several characters undergo subtle changes in this scene, as they grapple with their loyalties, fears, and hidden agendas. The interactions and revelations challenge their beliefs and motivations, setting the stage for further development.

Internal Goal: 8

Bridget's internal goal is to maintain her cover as a German actress while briefing Lt. Hicox on his mission. This reflects her desire to successfully deceive the Germans and carry out the mission without being discovered.

External Goal: 7

The protagonist's external goal is to successfully brief Lt. Hicox on his mission and maintain their cover as German operatives. This reflects the immediate challenge of navigating a dangerous situation and interacting with German soldiers without raising suspicion.


Scene Elements

Conflict Level: 9

The conflict in the scene is intense and multi-layered, with characters facing internal and external challenges that threaten their mission and their lives. The high stakes and conflicting loyalties create a sense of urgency and danger.

Opposition: 8

The opposition in the scene is strong, with conflicting values and power dynamics between characters. The confrontation between Lt. Hicox and the German sergeant adds a layer of tension and uncertainty to the scene.

High Stakes: 9

The stakes are incredibly high in this scene, as the characters face the threat of discovery, betrayal, and death. The tension and danger are palpable, raising the stakes for the mission and the characters involved.

Story Forward: 9

The scene significantly moves the story forward, as the characters make critical decisions and revelations that will impact the outcome of the mission. The escalating tension and high stakes propel the narrative towards a climactic confrontation.

Unpredictability: 8

This scene is unpredictable because of the unexpected twists in character interactions and the shifting dynamics between the undercover operatives and German soldiers. The element of surprise adds to the scene's tension and intrigue.

Philosophical Conflict: 7

The philosophical conflict in this scene is between loyalty to one's country and duty to a higher cause. Lt. Hicox's confrontation with the German sergeant challenges the values of obedience and respect for authority, highlighting the moral complexities of war and espionage.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from tension and anxiety to dark humor and suspense. The characters' struggles and the looming threat of discovery create a palpable sense of danger and uncertainty.

Dialogue: 8

The dialogue is sharp, tense, and filled with subtext, reflecting the characters' conflicting emotions and hidden intentions. It effectively conveys the power dynamics and shifting alliances within the group.

Engagement: 9

This scene is engaging because of its blend of humor, suspense, and character dynamics. The interactions between characters and the unfolding of the mission create a sense of intrigue and tension.

Pacing: 8

The pacing of the scene effectively builds tension and suspense, with well-timed dialogue and character actions. The rhythm of the scene contributes to its effectiveness in conveying the plot and maintaining audience engagement.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene descriptions and character actions. The dialogue is formatted appropriately, enhancing readability and flow.

Structure: 8

The scene follows a structured format that effectively builds tension and develops character dynamics. The pacing and rhythm contribute to the scene's effectiveness in conveying the plot.


Critique
  • The scene begins with a jarring jump cut, transitioning abruptly from the real Germans to the Basterds. This disrupts the flow and confuses the reader.
  • The scene is bogged down by excessive back-and-forths between the Basterds and the real Germans. The constant switching back and forth creates a choppy and disorienting reading experience.
  • The scene relies heavily on stage directions, which can be overwhelming and detract from the dialogue and action. It would be more effective to show the action through dialogue and description rather than relying solely on stage directions.
  • The dialogue is repetitive and lacks natural flow. Lines like 'You’ll say you’re an associate producer on Riefenstahl’s “Tiefland”' are overly explanatory and could be conveyed more subtly.
  • The scene introduces a new character, Sergeant Pola Negri, without adequately establishing his importance or relevance to the plot. His presence feels forced and unnecessary.
  • The humor in the scene feels strained and unearned. The dueling spit-takes and the German sergeant's infatuation with Bridget von Hammersmark come across as forced attempts at comedic relief.
  • The scene lacks a clear sense of purpose or forward momentum. The information about the change in venue and the Führer's attendance feels like exposition rather than plot development.
  • The ending of the scene is abrupt and unsatisfying. The tension created by the German sergeant's questioning of Hicox's accent is left unresolved.
Suggestions
  • Streamline the scene by eliminating the back-and-forths between the Basterds and the real Germans. Focus on one group at a time and create a smoother flow.
  • Reduce the number of stage directions and instead rely on dialogue and description to show the action. This will create a more engaging and cinematic reading experience.
  • Refine the dialogue to be more natural and less expository. Avoid overly explanatory lines and allow the characters' interactions to convey information organically.
  • Consider the relevance of Sergeant Pola Negri to the story. If he doesn't serve a clear purpose, eliminate him or introduce him in a more meaningful way.
  • Explore different ways to create humor that feels more natural and integrated into the scene. For example, play with the characters' personalities and interactions to create comedic moments.
  • Give the scene a clearer purpose. Tie it back to the overall plot and advance the story in a meaningful way. Consider adding a conflict or a turning point that raises the stakes and keeps the reader engaged.
  • Provide a more satisfying ending to the scene. Resolve the tension created by the German sergeant's questioning of Hicox's accent or introduce a new plot point to keep the reader engaged.



Scene 27 -  The Major's Arrival
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 Stiglitz blames Winnetou and Edgar Wallace for Sergeant Pola's erratic behavior. Major Hellstrom, previously unseen, appears and questions Lt. Hicox's accent, raising suspicion. Bridget von Hammersmark vouches for Hicox's story, calming the tension. Major Hellstrom then joins Bridget, Hicox, and Wicki at their table, inviting them to play the game, suggesting a possible change in the dynamic between the characters.
Strengths
  • Sharp dialogue
  • Tension-filled interactions
  • Character depth and development
Weaknesses
  • Some moments of light-heartedness may detract from the overall tension

Ratings
Overall

Overall: 8

The scene is well-written, with a good balance of tension, charm, and light-hearted moments. The dialogue is engaging and reveals important information about the characters and their relationships.


Story Content

Concept: 8

The concept of a Gestapo major interrogating a group of undercover soldiers in a casual setting is unique and adds depth to the characters and the story. The scene effectively conveys the power dynamics and tensions between the characters.

Plot: 7

The plot advances as the Gestapo major questions the characters, revealing their backgrounds and motivations. The scene sets up further conflict and intrigue, especially with the revelation of the characters' true identities.

Originality: 9

The scene introduces a fresh take on the spy genre by blending humor with suspense and deception. The characters' actions and dialogue feel authentic and engaging, adding to the originality of the scene.


Character Development

Characters: 9

The characters are well-developed and their personalities shine through in the dialogue and interactions. The Gestapo major is portrayed as charming yet menacing, while the undercover soldiers show resilience and wit.

Character Changes: 6

While there are no significant character changes in this scene, the interactions and revelations deepen the characters' motivations and relationships, setting the stage for future developments.

Internal Goal: 8

Lt. Hicox's internal goal is to maintain his cover as a German officer and gain the trust of Major Hellstrom. This reflects his deeper need to successfully complete his mission and deceive the enemy.

External Goal: 7

Lt. Hicox's external goal is to attend Goebbels's film premiere as Bridget's escort and gather intelligence for the Allies. This reflects the immediate challenge of maintaining his cover and extracting information from the enemy.


Scene Elements

Conflict Level: 8

The conflict in the scene is high, as the characters navigate a tense interrogation by a Gestapo major while maintaining their cover identities. The power dynamics and hidden agendas create a palpable sense of danger.

Opposition: 7

The opposition in the scene is strong, with Major Hellstrom challenging Lt. Hicox's cover and motivations. The audience is left uncertain of how the confrontation will play out, adding to the tension.

High Stakes: 9

The stakes are high in the scene, as the characters risk exposure and danger during the interrogation by the Gestapo major. The outcome of the interrogation could have significant consequences for their mission and lives.

Story Forward: 8

The scene moves the story forward by revealing key information about the characters, their relationships, and the unfolding plot. It sets up further conflict and intrigue, driving the narrative towards the climax.

Unpredictability: 8

This scene is unpredictable because of the shifting power dynamics and hidden agendas of the characters. The audience is kept on their toes, unsure of how the interactions will unfold.

Philosophical Conflict: 7

The philosophical conflict in this scene is the tension between deception and truth. Lt. Hicox must navigate the lies and half-truths to achieve his mission, while Major Hellstrom seeks to uncover the truth behind his identity.


Audience Engagement

Emotional Impact: 6

The scene elicits a mix of emotions, from tension and suspense to light-hearted moments of charm and wit. The characters' interactions and the high stakes add to the emotional impact.

Dialogue: 9

The dialogue is sharp, engaging, and reveals important information about the characters and their relationships. It effectively conveys the tension and power dynamics in the scene.

Engagement: 9

This scene is engaging because of the witty dialogue, subtle tension, and strategic reveals. The interactions between the characters keep the audience invested in the outcome.

Pacing: 8

The pacing of the scene is well-executed, with a balance of dialogue and action that keeps the audience engaged. The rhythm of the scene contributes to its effectiveness by building tension and suspense.


Technical Aspect

Formatting: 8

The formatting of the scene is clear and concise, with proper scene headings and character actions. It follows the expected format for its genre.

Structure: 8

The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution. The pacing and rhythm of the scene contribute to its effectiveness.


Critique
  • The scene effectively builds tension through the introduction of Major Hellstrom, a Gestapo officer, which raises the stakes for Lt. Hicox and his team. However, the dialogue sometimes feels overly expository, particularly when Hicox explains his background. This could be streamlined to maintain the flow of the scene and avoid drawing attention to the exposition.
  • The humor in the dialogue is a strong point, but it occasionally undermines the tension that is being built. Balancing the humor with the underlying threat that Hellstrom represents could heighten the stakes and keep the audience more engaged.
  • The character interactions are engaging, but there are moments where the dialogue could be more concise. For example, Hicox's explanation of his accent and background could be shortened to maintain pacing and keep the audience's attention focused on the tension of the moment.
  • The use of laughter throughout the scene can be effective in creating a sense of camaraderie, but it risks diluting the seriousness of the situation. The laughter needs to feel more organic and less scripted to avoid breaking the tension.
  • The visual elements of the scene are strong, particularly the contrast between the imposter's table and the German soldiers' table. However, more emphasis on the body language and facial expressions of the characters, especially Hicox and Hellstrom, could enhance the tension and provide visual clues to their underlying motivations.
Suggestions
  • Consider tightening the dialogue to reduce exposition and enhance the natural flow of conversation. This will help maintain tension and keep the audience engaged.
  • Add subtle visual cues or actions that reflect the characters' internal states, particularly during tense exchanges. For example, showing Hicox's nervousness or Hellstrom's suspicion through body language can add depth to the scene.
  • Reassess the balance of humor and tension. While humor can be a great tool, ensure it doesn't undermine the gravity of the situation. Use it sparingly and strategically to maintain suspense.
  • Introduce more stakes for the characters in their interactions. For example, Hicox could have a moment of hesitation or fear that reveals the danger they are in, making the audience more invested in the outcome.
  • Consider incorporating a moment where the characters' past relationships or histories are hinted at in a more subtle way, rather than explicitly stated. This can create intrigue and deepen character connections without slowing down the pace.



Scene 28 -  A Game of Guesses and Tensions
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","Drama","Thriller"]

Summary Major Hellstrom introduces a guessing game to the group, who are enjoying a drink in a dimly lit bar. Lieutenant Hicox politely declines, but Major Hellstrom, through humor and light pressure, convinces him to participate. The scene highlights a subtle tension between the two officers, as Hicox's discomfort is apparent due to his past trauma associated with Gestapo uniforms. Despite the tension, the group ultimately agrees to play, leaving a lingering sense of uncertainty about the dynamics between the characters.
Strengths
  • Sharp dialogue
  • Intriguing power dynamics
  • Engaging character interactions
Weaknesses
  • Lack of significant character development
  • Limited emotional depth

Ratings
Overall

Overall: 8

The scene is well-crafted, blending tension, humor, and suspense effectively. The dialogue is sharp and engaging, keeping the audience intrigued.


Story Content

Concept: 8

The concept of the game within the scene adds an element of intrigue and suspense, showcasing the characters' wit and intelligence.

Plot: 7

The plot advances as the characters engage in the game, revealing subtle power dynamics and tensions among them.

Originality: 9

The scene introduces a unique game within a wartime setting, blending elements of humor and tension. The characters' interactions feel authentic and add depth to the narrative.


Character Development

Characters: 9

The characters are well-developed, each with their own distinct personalities and motivations. Their interactions drive the scene forward and add depth to the story.

Character Changes: 6

While there are no significant character changes in this scene, the interactions between the characters reveal more about their personalities and motivations.

Internal Goal: 8

Lt. Hicox's internal goal is to maintain the bond with his friends and navigate the social dynamics of the situation. His deeper need is to reconnect with his friends and assert his authority in a subtle way.

External Goal: 7

The protagonist's external goal is to assert his authority and maintain control of the social situation. This reflects the immediate challenge of dealing with an intrusive guest and maintaining the group dynamic.


Scene Elements

Conflict Level: 7

There is a subtle but palpable conflict underlying the interactions between the characters, adding tension and intrigue to the scene.

Opposition: 7

The opposition in the scene is strong, with conflicting social dynamics and power struggles. The audience is left uncertain about the outcome of the interactions.

High Stakes: 6

The stakes are relatively high as the characters navigate a tense situation and try to outwit each other in the game, adding suspense and intrigue to the scene.

Story Forward: 8

The scene moves the story forward by introducing new dynamics and tensions among the characters, setting the stage for future developments.

Unpredictability: 7

This scene is unpredictable because of the shifting power dynamics and subtle character interactions. The audience is kept on their toes, unsure of how the social situation will unfold.

Philosophical Conflict: 6

The philosophical conflict in this scene revolves around the power dynamics and social etiquette. It challenges the protagonist's beliefs about authority and social interactions.


Audience Engagement

Emotional Impact: 6

The scene evokes a range of emotions, from tension to amusement, keeping the audience engaged and invested in the characters' fates.

Dialogue: 9

The dialogue is witty, engaging, and reveals the characters' personalities and relationships. It adds depth to the scene and keeps the audience captivated.

Engagement: 9

This scene is engaging because of its blend of humor, tension, and character dynamics. The dialogue and actions keep the audience invested in the unfolding social dynamics.

Pacing: 8

The pacing of the scene contributes to its effectiveness by balancing moments of tension with lighter interactions. The rhythm of the dialogue and actions keeps the scene engaging and dynamic.


Technical Aspect

Formatting: 8

The scene follows the expected format for its genre, with clear scene descriptions, character actions, and dialogue. The formatting enhances the readability and flow of the scene.

Structure: 8

The scene follows a clear structure, with a setup, conflict, and resolution that flow seamlessly. The dialogue and actions are well-paced and contribute to the overall narrative.


Critique
  • The scene effectively utilizes humor to create tension, as the game serves as a metaphor for the dangerous game of deception the characters are playing. However, the comedic elements can sometimes undercut the suspense, especially given the serious stakes of the mission. Balancing the humor with the gravity of the situation is crucial to maintain the audience's engagement.
  • The flashback sequence featuring Stiglitz is a powerful visual tool that emphasizes his internal struggle and the trauma he carries. However, it could be made more impactful by providing a clearer connection to the present moment. As it stands, the flashback feels somewhat disjointed from the ongoing game, and a smoother transition could enhance emotional resonance.
  • The dialogue is witty and showcases the characters' personalities well, particularly Major Hellstrom's charm and the banter between the players. However, the pacing of the dialogue could be tightened to maintain momentum. There are moments where the exchanges drag slightly, which could diminish the scene's overall tension.
  • The stakes of the game are not fully established before it begins. While the audience understands the context of the characters being in disguise, explicitly stating the potential consequences of failing to maintain their cover during the game could heighten the tension and clarify the stakes involved.
  • The scene's visual composition could be more dynamic. While the tavern setting is appropriate, incorporating more varied camera angles and movements could help to elevate the energy of the scene. For example, closer shots on the characters' faces during critical moments could enhance emotional engagement.
Suggestions
  • Consider integrating a stronger sense of urgency into the game, perhaps by introducing a ticking clock or an external threat that looms over the characters as they play. This could heighten the tension and remind the audience of the stakes.
  • Enhance the transition into Stiglitz's flashback by incorporating visual cues or sound design that links it to the present moment. For example, a sound effect that echoes the game could trigger the flashback, creating a more cohesive narrative flow.
  • Revise the dialogue to maintain a snappier pace, ensuring that each line serves to either advance the plot or deepen character relationships. This could involve cutting lines that feel redundant or shifting some of the humor to more critical moments to maintain tension.
  • Clarify the stakes of the game at the beginning, perhaps through a brief exchange or a character's internal monologue that highlights the potential repercussions of their identities being discovered.
  • Experiment with camera angles and framing to create a more dynamic visual experience. Consider using close-ups during moments of tension or humor to capture the characters' expressions and reactions, drawing the audience further into the scene.



Scene 29 -  The Standoff
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","Drama","Thriller"]

Summary A tense standoff erupts between a suspicious Gestapo officer, Major Hellstrom, and three Allied soldiers disguised as civilians. Hellstrom, with a gun pointed at one of the soldier's testicles, reveals his suspicions, and the soldiers, guns drawn, counter by revealing their own plans to eliminate him. The confrontation escalates, culminating in a violent shootout that leaves several people dead, including Hellstrom, Bridget, Hicox, and others.
Strengths
  • Tense atmosphere
  • Sharp dialogue
  • High-stakes conflict
  • Unexpected twists
  • Emotional impact
Weaknesses
  • Graphic violence
  • Misogynistic language

Ratings
Overall

Overall: 9

The scene is highly engaging, filled with tension, suspense, and unexpected twists. The dialogue is sharp and impactful, driving the conflict forward and keeping the audience on the edge of their seats. The violent climax adds a shocking and memorable element to the scene.


Story Content

Concept: 9

The concept of a covert operation gone wrong, leading to a deadly confrontation, is executed with precision and intensity. The scene effectively showcases the risks and consequences of espionage during wartime, highlighting the dangers faced by undercover operatives.

Plot: 8

The plot of the scene revolves around the escalating tension between the undercover operatives and the Nazi officer, culminating in a violent showdown. The plot progression is well-paced, with each moment building towards the explosive climax.

Originality: 9

The scene offers a fresh take on the wartime genre by combining intense action with moral ambiguity and dark humor. The characters' actions and dialogue feel authentic and add depth to the narrative.


Character Development

Characters: 9

The characters in the scene are well-defined and their motivations are clear. The conflict between the undercover operatives and the Nazi officer drives the narrative forward, with each character playing a crucial role in the unfolding drama.

Character Changes: 7

The characters undergo significant changes during the scene, particularly in their perceptions of each other and their ultimate fates. The violent confrontation leads to unexpected outcomes and forces the characters to confront the consequences of their actions.

Internal Goal: 9

The protagonist's internal goal is to maintain composure and outwit the enemy, showcasing his intelligence and resourcefulness in a life-threatening situation.

External Goal: 8

The protagonist's external goal is to survive and escape the situation with his comrades, ensuring their safety and completing their mission.


Scene Elements

Conflict Level: 9

The conflict in the scene is intense and multi-layered, involving deception, betrayal, and a deadly showdown. The escalating tension between the characters creates a palpable sense of danger and uncertainty, leading to a violent and shocking climax.

Opposition: 9

The opposition in the scene is strong, with characters facing life-threatening situations and moral dilemmas that challenge their beliefs and values.

High Stakes: 10

The stakes in the scene are incredibly high, with the characters' lives on the line and the outcome of the mission hanging in the balance. The deadly confrontation and the shocking violence raise the stakes to a critical level, adding urgency and tension to the scene.

Story Forward: 9

The scene moves the story forward significantly, setting the stage for the climax of the narrative. The escalating conflict and the violent showdown have far-reaching consequences for the characters and the overall plot, driving the story towards its resolution.

Unpredictability: 9

This scene is unpredictable due to the unexpected twists and turns, keeping the audience guessing about the characters' fates.

Philosophical Conflict: 7

The philosophical conflict revolves around loyalty, morality, and sacrifice. The characters must navigate their beliefs and values in a morally ambiguous and dangerous situation.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, including fear, tension, and shock. The violent climax and the unexpected twists leave a lasting impact on the audience, heightening the emotional intensity of the scene.

Dialogue: 9

The dialogue in the scene is sharp, tense, and impactful. It effectively conveys the escalating tension between the characters and drives the conflict forward. The threats and ultimatums exchanged add depth to the characters and heighten the suspense.

Engagement: 9

This scene is engaging due to its high stakes, intense action, and moral dilemmas that keep the audience on the edge of their seats.

Pacing: 8

The pacing of the scene enhances its effectiveness by building tension gradually and delivering a satisfying resolution.


Technical Aspect

Formatting: 8

The scene follows the expected format for its genre, with clear scene descriptions and character actions.

Structure: 8

The scene follows a well-paced structure, building tension and suspense effectively leading to a climactic resolution.


Critique
  • The scene effectively builds tension through the standoff between Major Hellstrom and the disguised Allied soldiers. The escalating threat is palpable, and the dialogue is sharp, reflecting the characters' personalities and the stakes involved.
  • The use of humor, particularly in the exchanges about scotch and the banter between Hicox and Hellstrom, provides a clever contrast to the underlying tension. This balance helps maintain engagement and keeps the audience on edge.
  • Bridget's character is well-utilized as a mediator and a victim in this tense situation, highlighting the stakes for her as well. However, her dialogue could be strengthened to reflect more agency in the scene, rather than just pleading for the lives of others.
  • The action sequences are well-structured, leading to a chaotic climax that captures the chaos of the moment. The quick shifts from dialogue to action maintain a brisk pace, which is effective in building suspense.
  • The scene's ending is abrupt, with multiple characters being shot in quick succession. While this aligns with the chaotic tone, it may benefit from a moment of reflection or emotional weight to emphasize the consequences of the violence, especially for Bridget.
Suggestions
  • Consider giving Bridget a more active role in the dialogue, allowing her to assert herself rather than primarily pleading for the soldiers' lives. This could enhance her character's depth and agency.
  • Introduce a brief moment of hesitation or internal conflict for the characters before the shooting starts. This could heighten the emotional stakes and make the eventual violence feel more impactful.
  • Explore the motivations behind Major Hellstrom's actions more deeply. Providing insight into his character could add layers to the conflict and make the confrontation more compelling.
  • Add visual details that highlight the tension in the room, such as close-ups of the characters' expressions or the subtle movements of their hands. This could enhance the atmosphere and draw the audience further into the scene.
  • Consider pacing the action more deliberately to allow the audience to absorb the gravity of the situation. A slower build-up before the chaos could make the climax feel even more explosive.



Scene 30 -  The Last Stand
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: ["War","Drama","Thriller"]

Summary Following a bloody shootout in a bar basement, only a young German sergeant, Wilhelm, remains alive. He holds the fate of the wounded Bridget von Hammersmark, while American soldiers led by Aldo attempt to negotiate her release. Aldo offers a deal for safe passage in exchange for Bridget, but Wilhelm, driven by fear and paternal instincts, contemplates his options, leaving the audience on the edge of their seats.
Strengths
  • Tension-filled dialogue
  • Emotional depth
  • High stakes negotiation
  • Character development
Weaknesses
  • Potential for confusion with multiple characters and motivations

Ratings
Overall

Overall: 9

The scene is highly engaging, filled with tension, suspense, and emotional depth, making it a standout moment in the screenplay.


Story Content

Concept: 9

The concept of a high-stakes negotiation in a life-or-death situation is executed effectively, keeping the audience on the edge of their seats.

Plot: 8

The plot advances significantly with the introduction of a hostage situation and the potential for a character to make a life-changing decision.

Originality: 9

The scene presents a fresh take on the wartime drama genre by focusing on the moral dilemmas and personal relationships of the characters amidst the chaos of battle. The authenticity of the characters' actions and dialogue adds depth and realism to the scene.


Character Development

Characters: 9

The characters are well-developed and their actions in this scene reveal their motivations, fears, and loyalties, adding depth to the story.

Character Changes: 8

The characters undergo significant emotional turmoil and face moral dilemmas, leading to potential changes in their beliefs and actions.

Internal Goal: 8

The protagonist's internal goal is to negotiate a deal that will save the life of Bridget von Hammersmark, who is injured and in danger. This reflects the protagonist's sense of morality and compassion, as well as his desire to avoid unnecessary bloodshed.

External Goal: 7

The protagonist's external goal is to secure the safe passage of Bridget von Hammersmark out of the basement without further violence. This goal reflects the immediate challenge of the dangerous situation they are in and the need to make quick decisions to ensure survival.


Scene Elements

Conflict Level: 9

The conflict in this scene is intense, with opposing sides facing off in a life-or-death situation, raising the stakes and keeping the audience engaged.

Opposition: 8

The opposition in the scene is strong, with conflicting goals, shifting alliances, and moral dilemmas creating obstacles for the protagonist. The audience is kept guessing about the characters' true intentions and the outcome of the negotiation.

High Stakes: 9

The stakes are incredibly high in this scene, with the potential for life-changing decisions and deadly consequences.

Story Forward: 9

The scene propels the story forward by introducing a critical turning point and setting the stage for future events.

Unpredictability: 8

This scene is unpredictable because of the shifting alliances, moral ambiguity, and unexpected twists in the negotiation process. The audience is kept on edge, unsure of how the situation will resolve.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the themes of morality, loyalty, and survival. The protagonist must navigate the ethical dilemma of negotiating with an enemy soldier to save a life, while also considering the consequences of his actions on his own side.


Audience Engagement

Emotional Impact: 9

The scene evokes a range of emotions from fear to hope, creating a strong emotional impact on the audience.

Dialogue: 8

The dialogue is tense and impactful, driving the negotiation and revealing the characters' emotions and intentions.

Engagement: 9

This scene is engaging because of its high stakes, moral dilemmas, and fast-paced action. The audience is drawn into the characters' struggles and invested in the outcome of the negotiation.

Pacing: 9

The pacing of the scene is expertly crafted to build tension and suspense, keeping the audience engaged and invested in the outcome. The rhythm of the dialogue and action sequences enhances the dramatic impact of the scene.


Technical Aspect

Formatting: 8

The formatting of the scene is consistent with the expected format for a tense, action-packed sequence in a screenplay. The use of dialogue and action descriptions effectively conveys the intensity of the situation.

Structure: 8

The scene follows a well-paced structure that builds tension and suspense, leading to a climactic negotiation between the protagonist and the enemy soldier. The formatting is clear and concise, enhancing the readability of the scene.


Critique
  • The scene effectively builds tension through the use of a standoff between the characters, particularly with the German sergeant Wilhelm caught in a precarious situation. However, the stakes could be heightened further by emphasizing the emotional weight of the characters' decisions, especially for Aldo and Bridget, who have a vested interest in the outcome.
  • The dialogue is engaging and captures the urgency of the moment, but it occasionally veers into being overly expository. For example, Aldo's explanations could be more concise, allowing the tension of the moment to shine through without unnecessary elaboration.
  • The characterization of Wilhelm as a conflicted soldier is intriguing, but the scene could benefit from deeper exploration of his internal conflict. This would add layers to his character and make the audience more invested in the outcome of his choices.
  • The pacing of the scene is generally effective, but the transition between the gunfight and the negotiation could be smoother. The abrupt shift from chaos to dialogue may confuse the audience. Consider interspersing moments of action with dialogue to maintain momentum.
  • The use of humor in Aldo's exchanges with Wilhelm helps to lighten the heavy atmosphere of the scene, but it risks undermining the gravity of the situation. Striking a balance between tension and levity will enhance the overall impact of the scene.
Suggestions
  • Enhance Wilhelm's internal conflict by adding a few lines that reveal his thoughts or emotions about being in this situation, especially regarding his newborn child, which could make his character more relatable and sympathetic.
  • Consider tightening the dialogue by removing redundant phrases or statements that do not add to the tension. This will help maintain the urgency of the scene without losing the audience's engagement.
  • Incorporate brief moments of action during the dialogue to keep the tension high, such as Wilhelm shifting nervously or Aldo glancing at the door, which will help to maintain a sense of immediacy.
  • Explore the emotional stakes for Aldo and Bridget more deeply. Perhaps include a line from Aldo that reveals his personal investment in saving Bridget, which would elevate the tension and emotional stakes.
  • Consider adding a moment of hesitation or doubt from Wilhelm before he agrees to Aldo's deal, which could heighten the tension and make the eventual agreement feel more significant.



Scene 31 -  Negotiation and Operation
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: ["War","Drama","Thriller"]

Summary Aldo and Hirschberg attempt to negotiate a peaceful exit from a French country house with Willi, who is holding a machine gun. Before they can leave, Bridget shoots Willi with Major Hellstrom's Walter, saving the day. Meanwhile, Donowitz mistakes an old French man for a doctor and forces him to operate on Bridget, who has been wounded in the leg, despite the old man only speaking French and being a veterinarian.
Strengths
  • Tension-filled dialogue
  • Unexpected plot twists
  • High stakes and suspenseful atmosphere
Weaknesses
  • Limited character development in this specific scene

Ratings
Overall

Overall: 9

The scene is highly impactful, with a strong mix of tension, suspense, and brutality that keeps the audience engaged. The shocking turn of events and high stakes contribute to a compelling narrative.


Story Content

Concept: 8

The concept of a Mexican standoff in a wartime scenario is executed effectively, adding layers of tension and suspense to the scene. The theme of trust and betrayal is central to the concept, creating a compelling dynamic.

Plot: 9

The plot unfolds with a series of unexpected events, leading to a dramatic confrontation between the characters. The progression of the scene keeps the audience on edge and drives the narrative forward.

Originality: 9

The scene offers a fresh take on the wartime genre, with complex characters, moral ambiguity, and unexpected character actions. The dialogue feels authentic and adds depth to the narrative.


Character Development

Characters: 8

The characters are well-developed and their actions drive the conflict in the scene. Each character's motivations and reactions add depth to the unfolding events.

Character Changes: 7

While there are no significant character arcs in this scene, the characters' actions and decisions reveal aspects of their personalities and motivations. The intense situation forces them to confront their beliefs and loyalties.

Internal Goal: 8

Willi's internal goal is to protect the girl and ensure the safety of his fellow soldiers. This reflects his sense of duty and loyalty to his comrades.

External Goal: 9

Willi's external goal is to negotiate a deal with Aldo and Hirschberg to ensure the safe return of the girl and avoid a violent confrontation.


Scene Elements

Conflict Level: 9

The conflict in the scene is intense and multi-layered, with high stakes and a sense of urgency driving the characters' actions. The Mexican standoff adds a level of suspense and unpredictability to the confrontation.

Opposition: 8

The opposition in the scene is strong, with conflicting goals, moral dilemmas, and high stakes. The audience is unsure how the characters will resolve the situation.

High Stakes: 9

The high stakes in the scene, including life-and-death decisions and betrayals, heighten the tension and suspense. The characters' fates hang in the balance, adding a sense of urgency to the confrontation.

Story Forward: 9

The scene propels the story forward by introducing a critical confrontation between the characters and escalating the tension. The events that unfold have significant implications for the plot and the characters' fates.

Unpredictability: 8

This scene is unpredictable because of the unexpected actions of the characters and the sudden twists in the negotiation. The audience is kept guessing about the outcome.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around trust and loyalty. Willi must decide whether to trust Aldo and Hirschberg, despite their past actions and the tense situation.


Audience Engagement

Emotional Impact: 8

The scene elicits strong emotions from the audience, including fear, shock, and tension. The brutal consequences of the characters' actions create a sense of unease and suspense.

Dialogue: 8

The dialogue is tense and impactful, effectively conveying the high stakes and emotions of the characters. The exchanges between the characters drive the conflict and reveal their personalities.

Engagement: 9

This scene is engaging because of its high stakes, moral dilemmas, and intense character interactions. The audience is kept on edge, wondering how the situation will resolve.

Pacing: 8

The pacing of the scene is effective, with a gradual build-up of tension, escalating stakes, and a satisfying resolution. The rhythm of the dialogue adds to the scene's intensity.


Technical Aspect

Formatting: 8

The scene follows standard formatting conventions for a screenplay, with clear scene descriptions and character actions. The dialogue is formatted correctly.

Structure: 8

The scene follows a traditional structure for a tense negotiation scene, with escalating stakes and character dynamics. The pacing and tension build effectively.


Critique
  • The dialogue between Aldo and Willi effectively builds tension, but it could benefit from more subtext. While Aldo's threats are clear, incorporating more nuanced language could deepen the emotional stakes and character motivations.
  • The transition from the negotiation with Willi to Bridget's sudden action feels abrupt. While it creates a shocking moment, the pacing could be improved by adding a moment of hesitation or internal conflict for Bridget, enhancing the impact of her decision to shoot.
  • Aldo's character shines through his dialogue, but some of his lines feel overly expository. For instance, his explanation of trust and the Mexican standoff could be condensed to maintain the scene's pace and keep the audience engaged.
  • The scene effectively combines tension and dark humor, particularly with Donowitz's interactions with the old man. However, the humor could be more balanced with the gravity of the situation; ensuring that the audience feels the weight of Bridget's injury while also finding humor in the absurdity of the circumstances.
  • The introduction of the veterinarian's office is visually interesting, but the description could be more vivid to enhance the contrast between the brutality of the situation and the mundane setting. This juxtaposition could amplify the scene's emotional impact.
Suggestions
  • Consider adding a moment of doubt or hesitation for Willi before he lowers his weapon, which could heighten the tension and make his decision more impactful.
  • Incorporate more subtext in Aldo's dialogue to reveal his character's motivations and fears without being overly explicit. This will allow the audience to engage more deeply with the scene.
  • Refine Aldo's explanation about the Mexican standoff to be more concise, focusing on the emotional stakes rather than the mechanics of the situation.
  • Explore Bridget's internal conflict leading up to her decision to shoot Willi. This could be done through a brief flashback or a moment of reflection, adding depth to her character.
  • Enhance the visual description of the veterinarian's office to create a more vivid contrast with the violent actions taking place, thereby amplifying the scene's emotional weight.



Scene 32 -  The Aftermath and the Plan
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: ["War","Drama","Thriller"]

Summary After a brutal scene where Donny forces a French doctor to give him morphine, Colonel Landa investigates the dead bodies of the Basterds in a basement tavern. His keen observation leads him to suspect that someone is missing. Meanwhile, Aldo interrogates Bridget, uncovering the Basterds' plan to attend the film premiere disguised as film industry personnel. This revelation adds a layer of tension and intrigue as it becomes clear that the Nazis may be aware of their presence and have set a trap.
Strengths
  • Intense dialogue
  • Tense atmosphere
  • High stakes
  • Complex characters
  • Dramatic revelations
Weaknesses
  • Graphic violence
  • Tense and dark themes

Ratings
Overall

Overall: 9

The scene is highly engaging, filled with tension, suspense, and high stakes. The dialogue is sharp and impactful, driving the plot forward and revealing crucial information. The conflict is intense, leading to a deadly confrontation that changes the course of the story.


Story Content

Concept: 9

The concept of a tense confrontation in a basement tavern, where characters with conflicting loyalties face off, is executed brilliantly. The scene explores themes of betrayal, loyalty, and deception, setting the stage for a dramatic showdown.

Plot: 9

The plot is intricately woven, with multiple layers of deception, betrayal, and high stakes. The scene moves the story forward significantly, setting up the climax of the film and revealing key information about the characters and their motivations.

Originality: 9

The scene presents a fresh take on the World War II genre, focusing on the intricacies of deception and betrayal within a high-stakes mission. The characters' actions and dialogue feel authentic and true to the time period.


Character Development

Characters: 9

The characters are well-developed and complex, with conflicting loyalties and hidden agendas. Their interactions drive the tension and conflict in the scene, making it emotionally impactful and engaging.

Character Changes: 8

Several characters undergo significant changes in the scene, as they reveal hidden agendas, face life-threatening situations, and make life-changing decisions. The confrontation leads to character development and reveals new facets of their personalities.

Internal Goal: 8

The protagonist's internal goal is to uncover the truth behind the events that led to the deaths of his men and to determine who is responsible for the betrayal. This reflects his need for justice and loyalty to his comrades.

External Goal: 7

The protagonist's external goal is to interrogate the German lady and gather information about the events that transpired in the basement tavern. This reflects his immediate challenge of uncovering the truth and ensuring the safety of his team.


Scene Elements

Conflict Level: 9

The conflict in the scene is intense, with characters facing off against each other, revealing hidden agendas, and making life-changing decisions. The stakes are high, leading to a deadly confrontation that changes the course of the story.

Opposition: 8

The opposition in the scene is strong, with conflicting motivations, hidden agendas, and unexpected revelations. The audience is kept guessing about the true intentions of the characters and the outcome of the interrogation.

High Stakes: 9

The stakes in the scene are extremely high, as characters face life-threatening situations, make difficult choices, and reveal hidden truths. The tension and suspense are heightened by the high stakes, leading to a deadly confrontation that changes the course of the story.

Story Forward: 9

The scene moves the story forward significantly, revealing key information, escalating the conflict, and setting up the climax of the film. It introduces new plot elements, resolves existing conflicts, and paves the way for the resolution of the story.

Unpredictability: 8

This scene is unpredictable because of the unexpected actions of the characters, the shifting allegiances, and the revelation of new information. The audience is kept on edge, unsure of what will happen next.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the themes of loyalty, betrayal, and deception. The protagonist must navigate a world where allegiances are constantly shifting and trust is hard to come by.


Audience Engagement

Emotional Impact: 8

The scene is emotionally impactful, with characters facing life-threatening situations, making difficult choices, and revealing hidden truths. The tension and suspense evoke fear, anxiety, and anticipation in the audience.

Dialogue: 9

The dialogue is sharp, tense, and impactful, revealing the characters' motivations, conflicts, and hidden agendas. It drives the plot forward and adds depth to the characters, making the scene intense and engaging.

Engagement: 9

This scene is engaging because of its high stakes, intense dialogue, and unpredictable twists. The audience is drawn into the mystery of the betrayal and the protagonist's quest for justice.

Pacing: 9

The pacing of the scene is well-executed, with a gradual buildup of tension, a series of interrogations that reveal new information, and a climactic revelation at the end. The rhythm of the scene keeps the audience engaged and invested in the story.


Technical Aspect

Formatting: 8

The scene follows the expected format for its genre, with clear scene headings, character names, and dialogue formatting. The visual descriptions and action lines are concise and impactful.

Structure: 8

The scene follows a clear structure, with a buildup of tension, a series of interrogations, and a revelation at the end. The pacing and rhythm of the scene contribute to its effectiveness in building suspense.


Critique
  • The scene effectively builds tension through the desperation of the characters, particularly Donny's aggressive demand for morphine. However, the sudden act of shooting the dogs feels excessive and could alienate some viewers. It serves to illustrate the extreme measures the characters are willing to take, but it might overshadow the emotional stakes of the scene.
  • The transition between the two settings—Donny's violent outburst and Landa's calm examination of the corpses—creates an interesting juxtaposition. However, the abrupt cut from one scene to another may confuse the audience. A smoother transition or a stronger thematic link between the two moments could enhance the overall flow.
  • Landa's dialogue is sharp and reveals his character's cunning nature, but it might benefit from a bit more subtext. While he is informative, giving background about the Basterds, it feels somewhat expository. More subtle hints about his intentions or feelings could add depth to his character.
  • Bridget's interrogation scene with Aldo is well-paced and filled with tension. However, the dialogue could be tightened to enhance the urgency of the situation. Some lines feel slightly redundant, and tightening the dialogue could maintain the scene's momentum.
  • The reveal of the three tickets at the end serves as a great plot device, but the setup for this moment could be more pronounced throughout the scene. Building anticipation for this reveal earlier in the dialogue could make it feel more impactful.
Suggestions
  • Consider toning down the violence against the dogs to maintain emotional engagement with the audience. Perhaps show Donny's frustration in a way that conveys urgency without resorting to extreme violence.
  • Enhance the transition between the two settings by adding a visual or auditory cue that links Donny's chaos to Landa's calmness, such as a sound that bridges the two scenes.
  • Add layers to Landa's dialogue by incorporating subtext or hints about his true intentions. This could make his character feel more complex and less like a mere exposition tool.
  • Streamline the dialogue between Aldo and Bridget, focusing on the most crucial points to maintain tension and urgency. Eliminate any repetitive elements to keep the pace brisk.
  • Foreshadow the ticket reveal by incorporating hints or discussions about the premiere earlier in the scene, so that the reveal feels like a natural culmination of the conversation.



Scene 33 -  The Premiere Plan
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","Drama","Thriller"]

Summary Bridget informs Lt. Aldo that the film premiere she was supposed to attend with Lt. Hicox has been changed, with Adolf Hitler now in attendance. Despite Bridget's concerns about her recent injury, Aldo rallies his team, Donowitz and Hirschberg, to infiltrate the premiere. Donowitz will act as her cameraman, and Hirschberg, despite his lack of Italian, will be Donowitz's assistant. The scene ends with the team solidifying their roles, ready to take on the mission.
Strengths
  • Tension-filled dialogue
  • High-stakes mission
  • Intriguing plot twists
Weaknesses
  • Complexity of characters may require close attention to follow

Ratings
Overall

Overall: 8

The scene is crucial in advancing the plot and introducing a significant turning point in the story. It is filled with tension, sarcasm, and important revelations, making it engaging and impactful.


Story Content

Concept: 8

The concept of a daring assassination mission at a film premiere involving complex characters and high stakes is innovative and captivating.

Plot: 8

The plot is intricate, with last-minute changes, revelations, and the setup for a dangerous mission, keeping the audience engaged and eager to see how events will unfold.

Originality: 9

The scene introduces a fresh take on the World War II setting by focusing on a covert operation and the moral dilemmas faced by the characters. The authenticity of the dialogue and character actions adds to the originality of the scene.


Character Development

Characters: 7

The characters are diverse, with unique personalities and motivations that drive the story forward. Their interactions add depth and tension to the scene.

Character Changes: 7

Several characters undergo changes in their attitudes and actions, especially in response to the new information and challenges they face, adding depth to their arcs.

Internal Goal: 8

Bridget's internal goal is to navigate the dangerous situation she finds herself in, balancing her personal safety with the mission at hand. This reflects her deeper need for survival and her desire to fulfill her role in the operation.

External Goal: 9

The protagonist's external goal is to ensure the success of Operation Kino by getting the team into the premiere and potentially assassinating Hitler. This goal reflects the immediate circumstances and challenges they are facing in the scene.


Scene Elements

Conflict Level: 9

The scene is filled with internal and external conflicts, from the tension between characters to the high-stakes mission and the imminent danger they face.

Opposition: 8

The opposition in the scene is strong, with the characters facing unexpected challenges and obstacles that threaten the success of their mission. The audience is kept guessing about how the characters will overcome these obstacles.

High Stakes: 9

The stakes are incredibly high, with the mission to assassinate Hitler at a film premiere, risking their lives and the success of the operation, adding tension and urgency to the scene.

Story Forward: 9

The scene significantly moves the story forward by introducing key plot points, setting up the mission, and revealing crucial information that will impact the characters' decisions and actions.

Unpredictability: 8

This scene is unpredictable because of the sudden revelation of Hitler's attendance at the premiere and the characters' reactions to this news. The audience is kept on edge by the unexpected twists and turns.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the morality of assassination and the sacrifices necessary for the greater good. It challenges the protagonist's beliefs about violence and the consequences of their actions.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from tension and suspense to sarcasm and determination, keeping the audience emotionally invested in the characters and their mission.

Dialogue: 9

The dialogue is sharp, witty, and filled with tension, reflecting the high-stakes nature of the mission and the characters' conflicting emotions and agendas.

Engagement: 9

This scene is engaging because of its high stakes, fast-paced dialogue, and suspenseful plot developments. The audience is drawn into the characters' dilemmas and the tension of the situation.

Pacing: 9

The pacing of the scene is well-executed, with a balance of tension-building moments and character interactions. The rhythm of the dialogue and action sequences contributes to the scene's effectiveness.


Technical Aspect

Formatting: 9

The scene follows the expected formatting for its genre, with clear scene descriptions, character actions, and dialogue. The formatting enhances the readability and flow of the scene.

Structure: 9

The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution. The pacing and rhythm contribute to the effectiveness of the scene.


Critique
  • The dialogue effectively conveys tension and urgency, especially with the news of Hitler's attendance at the premiere. However, the scene could benefit from more varied emotional beats to enhance character depth, particularly Bridget's frustration and pain from her injury.
  • Bridget's sarcastic tone adds humor to the situation, but it can sometimes undermine the gravity of the circumstances they are discussing. Balancing humor with the serious stakes at hand would create a more impactful scene.
  • The exposition regarding the changes in the premiere's details feels a bit heavy-handed. While it's necessary for the plot, consider integrating it more organically into the dialogue to avoid feeling like an info dump.
  • Bridget's character is strong, but her motivations for helping the Basterds could be more explicitly stated. Adding a line or two about her desire for revenge or survival would deepen her character and make her choices more relatable.
  • The pacing is slightly uneven, with moments of tension followed by comedic relief. While this can work, ensuring that the stakes remain high throughout the scene is crucial to maintain audience engagement.
Suggestions
  • Incorporate physical actions or reactions from Bridget that reflect her pain and frustration, such as wincing or adjusting her position, to ground her character more in the moment.
  • Introduce a moment of silence or a pause after revealing Hitler's attendance to allow the weight of the news to settle in, enhancing the tension before the characters react.
  • Consider breaking up some of the dialogue with brief descriptions of the characters' expressions or body language to add visual interest and emotional depth.
  • Add a line where Bridget expresses her personal stakes in the mission beyond just following orders, perhaps referencing her family's fate or her own desire for revenge against the Nazis.
  • Ensure that the characters' motivations are clear and consistent throughout the scene, perhaps by having Aldo or Donowitz express their own stakes in the mission, reinforcing the urgency and importance of their plan.



Scene 34 -  Bridgett's Beauty Crisis
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: ["War","Drama","Thriller"]

Summary Bridget, a movie star, is worried about her appearance after a Nazi gunfight. The Basterds, known for their brutality, are unhelpful in this regard. Aldo reassures her, suggesting Donny, who secretly attended beauty school, can fix her hair. The scene ends with a focus on Donny, hinting at his unexpected skillset.
Strengths
  • Tension-building
  • Character dynamics
  • Sharp dialogue
  • High stakes
  • Foreshadowing
Weaknesses
  • Limited character development in this specific scene

Ratings
Overall

Overall: 9

The scene effectively builds tension, establishes high stakes, and sets up the upcoming action-packed sequence. The dialogue is sharp and engaging, and the character dynamics are intriguing.


Story Content

Concept: 9

The concept of a covert mission to assassinate high-ranking Nazis during a film premiere is unique and compelling. The scene effectively conveys the complexity and danger of the plan, as well as the personal sacrifices the characters are willing to make.

Plot: 8

The plot is well-developed, with clear objectives and obstacles for the characters to overcome. The scene sets up important plot points and foreshadows the intense conflict to come.

Originality: 9

The scene offers a fresh take on World War II narratives by focusing on a revenge plot from a unique perspective. The characters' actions and dialogue feel authentic and contribute to the scene's originality.


Character Development

Characters: 9

The characters are well-defined and their motivations are clear. Shosanna's determination and sacrifice, as well as the tension between the Basterds and the German soldiers, add depth to the scene.

Character Changes: 7

While there are no significant character arcs in this scene, the characters' actions and decisions reflect their growth and development as they prepare for the dangerous mission.

Internal Goal: 9

The protagonist's internal goal is to carry out a revenge plan against the Nazis, as seen through Shosanna's preparations for the premiere and her determination to execute her plan.

External Goal: 8

The protagonist's external goal is to sabotage the premiere by burning down the cinema, as discussed in her conversation with Marcel in the projection booth.


Scene Elements

Conflict Level: 9

The scene is filled with internal and external conflicts, including the tension between the Basterds and the German soldiers, the high-stakes mission to assassinate the Nazis, and the personal sacrifices made by the characters.

Opposition: 8

The opposition in the scene is strong, with the protagonist facing challenges in executing her plan and overcoming obstacles in the Nazi-controlled environment.

High Stakes: 9

The scene is filled with high stakes, as the characters prepare for a dangerous mission to assassinate the Nazi high command during a film premiere. The personal sacrifices and risks involved highlight the life-or-death consequences of their actions.

Story Forward: 9

The scene moves the story forward significantly by setting up important plot points, revealing character motivations, and foreshadowing the intense conflict to come. It establishes the groundwork for the climactic events of the film.

Unpredictability: 7

This scene is unpredictable due to the unexpected twists in character interactions and the protagonist's plan to sabotage the premiere.

Philosophical Conflict: 8

The philosophical conflict revolves around the themes of revenge, justice, and sacrifice. Shosanna's actions challenge the values of the Nazi regime and the idea of fighting back against oppression.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, including tension, suspense, and empathy for the characters facing dangerous circumstances. The personal sacrifices and high stakes add emotional depth to the scene.

Dialogue: 8

The dialogue is sharp, engaging, and reveals important information about the characters and their motivations. The banter between the Basterds and Bridget adds tension and humor to the scene.

Engagement: 9

This scene is engaging because of its mix of suspense, humor, and character dynamics. The audience is drawn into the protagonist's revenge plan and the tension surrounding the premiere.

Pacing: 8

The pacing of the scene builds tension effectively, leading up to the protagonist's crucial decision to execute her revenge plan.


Technical Aspect

Formatting: 8

The scene's formatting adheres to the expected format for its genre, with clear scene descriptions, character dialogue, and transitions.

Structure: 8

The scene follows a structured format that effectively transitions between different locations and characters, building tension and setting up the narrative.


Critique
  • The scene effectively captures the tension and frustration among the characters, particularly through Bridget's exasperation with the Basterds' lack of competence. However, the dialogue could benefit from more subtext to deepen character development and reveal underlying motivations.
  • Bridget's character is presented as strong and assertive, yet the scene leans heavily on her frustration without providing much insight into her emotional state or stakes in the situation. Adding a moment of vulnerability or reflection could enhance her depth.
  • The humor in the dialogue, particularly Aldo's confidence in Utivich learning to drive, contrasts sharply with the gravity of their situation. While this can work to lighten the mood, it may also undermine the tension built from the previous scenes. A more balanced approach between humor and seriousness could be effective.
  • Utivich's line about being from Manhattan feels slightly out of place and could be reworked to better fit the tone of the scene. Instead of a geographical reference, consider a line that reflects his character or background more relevantly to the current predicament.
  • The transition into the next scene feels abrupt, particularly with the chapter title appearing immediately after. This could disrupt the flow. A more gradual transition or a visual cue that connects the two scenes could enhance continuity.
Suggestions
  • Incorporate more subtext in the dialogue to reveal character motivations and conflicts without stating them outright. This can create a richer interaction between the characters.
  • Consider adding a line or two where Bridget expresses her fears or stakes regarding the premiere, which would help the audience connect with her plight on a deeper level.
  • Balance the humor with the tension by allowing moments of seriousness to punctuate the comedic dialogue. This can maintain the audience's engagement with the gravity of their mission.
  • Rework Utivich's line to reflect his character's background in a way that feels more relevant to the scene, perhaps by referencing a humorous or relatable experience rather than just his origin.
  • To improve the transition to the next scene, consider using a visual element or a line of dialogue that links Bridget's concerns about her appearance to the upcoming events, creating a smoother flow.



Scene 35 -  Landa's Suspicions Arise
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: ["War","Drama","Thriller"]

Summary At a Parisian cinema premiere, Col. Hans Landa observes the arriving guests, including the Basterds disguised in tuxedos with Bridget von Hammersmark, whose injured leg raises Landa's suspicions. He confronts Bridget about her injury but dismisses her explanation, revealing his awareness of a hidden truth. Landa then interacts with the Basterds, feigning ignorance of their language and their identities, creating a tense atmosphere as his suspicions simmer beneath the surface.
Strengths
  • Sharp dialogue
  • Engaging character interactions
  • Tension and suspense
Weaknesses
  • Limited character development
  • Lack of action or physical conflict

Ratings
Overall

Overall: 8

The scene effectively sets up the tension and stakes for the upcoming mission while providing insight into the characters' dynamics and motivations. The dialogue is engaging and reveals the wit and intelligence of the characters involved.


Story Content

Concept: 8

The concept of the scene revolves around the infiltration of the cinema by the Basterds, with a focus on the interaction between Bridget von Hammersmark and Colonel Hans Landa. The scene effectively introduces the mission and sets the tone for the upcoming events.

Plot: 7

The plot of the scene revolves around the Basterds' plan to infiltrate the cinema and the interaction between Bridget von Hammersmark and Colonel Hans Landa. The scene effectively advances the story by introducing key elements and setting up the conflict to come.

Originality: 9

The scene introduces fresh elements like the use of think bubbles and subtle humor in a tense setting. The characters' actions and dialogue feel authentic and contribute to the scene's originality.


Character Development

Characters: 9

The characters in the scene, particularly Bridget von Hammersmark and Colonel Hans Landa, are well-developed and engaging. Their interactions reveal their personalities and motivations, adding depth to the scene.

Character Changes: 6

While there are no significant character changes in this scene, the interactions between the characters reveal their personalities and motivations, setting the stage for potential growth and development in future scenes.

Internal Goal: 8

Shosanna's internal goal is to maintain composure and focus on her theater duties despite the presence of high-ranking Nazi officials.

External Goal: 7

The protagonist's external goal is to avoid drawing attention to herself and her plans for revenge against the Nazis.


Scene Elements

Conflict Level: 8

The scene is filled with conflict, both overt and subtle. The tension between Bridget von Hammersmark and Colonel Hans Landa, as well as the high-stakes mission at hand, create a sense of unease and suspense throughout the scene.

Opposition: 8

The opposition in the scene is strong, with characters navigating social expectations and personal motivations in a high-stakes environment.

High Stakes: 9

The scene is filled with high stakes, as the Basterds navigate a dangerous mission to infiltrate the cinema and assassinate key Nazi figures. The tension, danger, and looming presence of Colonel Hans Landa raise the stakes and create a sense of urgency.

Story Forward: 8

The scene effectively moves the story forward by introducing key plot points, setting up the conflict to come, and advancing the mission of the Basterds. The interactions between the characters add depth to the narrative and set the stage for the upcoming events.

Unpredictability: 7

The scene is unpredictable in its subtle shifts between politeness and underlying tension, creating a sense of unease and anticipation.

Philosophical Conflict: 9

The philosophical conflict is between the facade of politeness and camaraderie displayed by the characters and the underlying tension and animosity due to their opposing beliefs and actions.


Audience Engagement

Emotional Impact: 7

The scene elicits a range of emotions, from tension and suspense to humor and sarcasm. The interactions between the characters and the looming danger of the mission create a sense of unease and anticipation.

Dialogue: 9

The dialogue in the scene is sharp, witty, and engaging. It effectively conveys the tension, humor, and sarcasm between the characters, adding depth to their interactions and setting the tone for the scene.

Engagement: 9

This scene is engaging due to its blend of humor, tension, and subtext, keeping the audience invested in the characters' interactions and motivations.

Pacing: 8

The pacing effectively builds tension and suspense, allowing for moments of humor and character development to shine.


Technical Aspect

Formatting: 8

The formatting adheres to the expected style for the genre, enhancing the visual and narrative impact of the scene.

Structure: 8

The scene follows a structured format that effectively builds tension and reveals character dynamics.


Critique
  • The scene effectively sets the tone for the upcoming confrontation by juxtaposing the festive atmosphere of the premiere with the underlying tension between the characters. The lavish descriptions of the lobby create a stark contrast to the sinister nature of the attendees, emphasizing the absurdity of the situation.
  • The use of a thought bubble for Landa's recollection of the hospital scene is a creative choice that adds an element of humor and surrealism to the narrative. However, it may come off as slightly jarring to some viewers who are not accustomed to such stylistic devices in a screenplay. It could be beneficial to ensure that this device is consistent with the overall tone of the film.
  • The dialogue between Landa and Bridget is sharp and witty, showcasing their history and the underlying tension of their encounter. However, the back-and-forth banter could be tightened to maintain a brisk pace, ensuring that the tension remains palpable throughout.
  • Landa's character is portrayed as both charming and menacing, which is effective in maintaining the audience's unease. However, the scene could benefit from a clearer indication of Landa's true intentions. While his playful demeanor is engaging, a hint of his darker motives could heighten the suspense.
  • The introduction of the Basterds as 'friends from Italy' adds an interesting layer to the scene, but the dialogue could be more natural. The characters' attempts to maintain their cover could include more subtle cues that reveal their discomfort without explicitly stating it.
  • The pacing of the scene is generally good, but it could be improved by balancing the comedic elements with the tension. The laughter and banter should not undermine the seriousness of the situation, as the stakes are incredibly high for the characters involved.
Suggestions
  • Consider reducing the length of the thought bubble sequence or integrating it more seamlessly into the narrative to avoid disrupting the flow of the scene.
  • Tighten the dialogue between Landa and Bridget to enhance the pacing and maintain a sense of urgency, ensuring that the tension is palpable.
  • Introduce subtle hints of Landa's true intentions earlier in the conversation to build suspense and keep the audience engaged with the stakes involved.
  • Incorporate more natural dialogue for the Basterds, emphasizing their discomfort and anxiety about being in Landa's presence without overtly stating it.
  • Ensure that the balance between humor and tension is maintained, so that the comedic moments do not detract from the seriousness of the characters' predicament.



Scene 36 -  The Tension of Deception
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","Drama","Thriller"]

Summary In the lobby of a French cinema during a German propaganda film premiere, Col. Landa interrogates the disguised Basterds about their fake Italian names before turning his charm towards Shosanna, the cinema's owner. As Shosanna guides the Basterds to their seats, an internal conflict brews; both she and the Basterds are aware that their actions could lead to a deadly outcome. The atmosphere is thick with suspense as Landa's manipulation and the Basterds' precarious situation unfold, culminating in Landa taking Bridget away to meet the Führer, leaving Aldo alone amidst the growing tension.
Strengths
  • Tension-building
  • Character dynamics
  • Dialogue
  • Plot advancement
Weaknesses
  • Some predictable interactions
  • Slight lack of subtlety in character introductions

Ratings
Overall

Overall: 8

The scene effectively builds tension, introduces high stakes, and sets the stage for a critical moment in the story. The mix of languages and undercover identities adds depth and complexity to the narrative.


Story Content

Concept: 8

The concept of undercover operatives infiltrating a cinema premiere attended by high-ranking Nazis is compelling and sets the stage for a climactic confrontation.

Plot: 8

The plot advances significantly as the characters navigate the tense situation at the premiere, revealing key information and setting up future events.

Originality: 9

The scene introduces a fresh take on wartime espionage, blending humor with suspense and moral ambiguity. The characters' actions and dialogue feel authentic and nuanced, adding depth to the story.


Character Development

Characters: 7

The characters display a range of emotions and motivations, adding depth to the scene. Bridget's resilience, Aldo's leadership, and Landa's cunning are particularly noteworthy.

Character Changes: 7

Several characters face challenges and make decisions that impact their arcs, showcasing growth, resilience, and moral dilemmas.

Internal Goal: 8

The protagonist's internal goal is to maintain their cover and hide their true intentions while interacting with the enemy. This reflects their need to survive in a dangerous situation and their fear of being discovered.

External Goal: 7

The protagonist's external goal is to blend in and gather information without raising suspicion. This reflects the immediate challenge of navigating a high-stakes social event in enemy territory.


Scene Elements

Conflict Level: 9

The conflict between the undercover operatives and the Nazis, as well as the internal conflicts within the characters, creates a tense and suspenseful atmosphere.

Opposition: 7

The opposition in the scene is strong, with characters facing internal and external conflicts that challenge their beliefs and values. The audience is left unsure of how the characters will navigate these challenges.

High Stakes: 9

The high stakes of the undercover mission, the presence of key Nazi figures, and the potential for discovery create a sense of urgency and danger, raising the tension.

Story Forward: 9

The scene significantly moves the story forward by revealing crucial information, setting up future events, and escalating the tension towards a climactic moment.

Unpredictability: 8

This scene is unpredictable because of the characters' hidden agendas and conflicting loyalties. The audience is unsure of how the characters will navigate the tense social situation and what consequences their actions will have.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around deception and morality. The characters must balance their loyalty to their cause with the need to deceive their enemies, challenging their beliefs and values.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, including tension, anxiety, and amusement, keeping the audience engaged and invested in the characters' fates.

Dialogue: 7

The dialogue effectively conveys tension, deception, and humor, reflecting the characters' personalities and the high-stakes situation.

Engagement: 9

This scene is engaging because of its mix of suspense, humor, and moral complexity. The interactions between characters keep the audience on edge and eager to see how the situation unfolds.

Pacing: 8

The pacing of the scene contributes to its effectiveness by building tension gradually, allowing for moments of humor and reflection, and ending on a cliffhanger that leaves the audience wanting more.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear dialogue tags, scene descriptions, and transitions that enhance readability and flow.

Structure: 8

The scene follows the expected structure for its genre, with clear character introductions, rising tension, and a cliffhanger ending that propels the narrative forward.


Critique
  • The scene effectively builds tension through the interaction between Col. Landa and the Basterds, showcasing Landa's manipulative nature and the precarious situation the characters find themselves in. However, the humor in the Basterds' fake Italian names feels slightly forced and could detract from the overall tension of the moment. The juxtaposition of humor and suspense is tricky, and it might benefit from a more subtle approach to maintain the scene's gravity.
  • The dialogue is clever and reflects the characters' personalities well, particularly Landa's playful yet menacing demeanor. However, the repetition of names could be streamlined to maintain the pacing of the scene. While it serves to highlight Landa's control, it may come off as overly drawn out, risking the audience's engagement.
  • The introduction of Shosanna is a pivotal moment that heightens the stakes, but the transition could be smoother. The moment where Landa introduces her feels abrupt; a more gradual reveal of her presence could enhance the dramatic irony and tension, as both she and the Basterds are aware of the underlying stakes.
  • The visual elements of the scene, particularly the setting of the cinema and the interactions in the lobby, establish a rich atmosphere. However, more descriptive details about the surroundings could enhance the immersive quality of the scene, allowing the audience to feel the tension in the air more acutely.
  • The emotional conflict between the characters is palpable, especially between Shosanna and Hirschberg. However, their internal struggles could be explored more deeply through their actions and expressions, allowing the audience to connect with their moral dilemmas more profoundly.
Suggestions
  • Consider tightening the dialogue by reducing the repetition of names. Instead, focus on the subtleties of Landa's manipulation and the Basterds' discomfort, which could enhance the tension without losing the playful tone.
  • Introduce Shosanna's character more gradually, perhaps through a brief moment of recognition between her and the Basterds before Landa formally introduces her. This could amplify the tension and create a stronger emotional connection for the audience.
  • Incorporate more sensory details about the cinema setting to enhance the atmosphere. Describing the sounds, smells, or even the visual decor could help immerse the audience in the scene and heighten the stakes.
  • Explore the internal conflicts of Shosanna and Hirschberg through their body language or facial expressions. Small gestures can convey a great deal of emotion and add depth to their characters' dilemmas.
  • Consider using Landa's charm and menace in a more nuanced way. Allowing moments of silence or pauses in his speech can create a more chilling effect, emphasizing his control over the situation and the characters involved.



Scene 37 -  The Final Confrontation
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: ["Drama","Thriller","War"]

Summary In a tense and violent scene set in Shosanna's office, Col. Landa confronts Bridget von Hammersmark about her espionage activities, confirming his suspicions when her shoe fits perfectly. After a chilling exchange, he brutally strangles her to death, showcasing the brutality of the moment. Meanwhile, in the lobby, Aldo is captured by Nazi guards, escalating the stakes as Landa prepares to inform the Führer that the show is about to begin.
Strengths
  • Intense atmosphere
  • Shocking twist
  • Strong character dynamics
Weaknesses
  • Graphic violence
  • Lack of resolution for certain characters

Ratings
Overall

Overall: 9

The scene is highly impactful, with a shocking turn of events that keeps the audience engaged and on edge.


Story Content

Concept: 9

The concept of a brutal interrogation by Col. Landa, leading to a violent death, is executed with high intensity and suspense.

Plot: 8

The plot unfolds with a sudden escalation of tension and violence, adding depth to the overall narrative.

Originality: 9

The scene offers a fresh take on the interrogation and betrayal trope, infusing it with historical context, moral complexity, and intense physical action. The characters' dialogue feels authentic and emotionally charged, adding depth to the narrative.


Character Development

Characters: 9

Col. Landa's character is showcased in a ruthless and cunning light, while Bridget's defiance adds to the emotional impact of the scene.

Character Changes: 8

Bridget undergoes a drastic change from defiance to vulnerability and ultimately death, showcasing the brutal consequences of resistance.

Internal Goal: 9

Bridget's internal goal is to resist the interrogation and maintain her defiance in the face of danger. This reflects her bravery, loyalty to her cause, and refusal to submit to the enemy.

External Goal: 8

The protagonist's external goal is to survive the interrogation and escape the clutches of the Nazi officer. This goal is crucial for her immediate safety and the success of the resistance mission.


Scene Elements

Conflict Level: 9

The conflict between Col. Landa and Bridget reaches a peak, resulting in a shocking and violent confrontation.

Opposition: 8

The opposition in the scene is strong, with conflicting goals, power struggles, and physical violence creating obstacles for the protagonist. The audience is kept in suspense, unsure of how the characters will overcome these challenges.

High Stakes: 9

The high stakes are evident in the life-threatening situation faced by Bridget and the Basterds, adding intensity to the scene.

Story Forward: 8

The scene propels the story forward by revealing the cunning nature of Col. Landa and the high stakes involved in the mission.

Unpredictability: 8

This scene is unpredictable because of the sudden escalation of violence, unexpected character actions, and shifting power dynamics. The audience is kept on edge, unsure of how the situation will unfold.

Philosophical Conflict: 8

The philosophical conflict in this scene revolves around the themes of resistance, loyalty, and sacrifice. Bridget's defiance challenges the oppressive Nazi regime and highlights the moral complexities of war and survival.


Audience Engagement

Emotional Impact: 9

The scene evokes strong emotions of tension, shock, and suspense, leaving a lasting impact on the audience.

Dialogue: 8

The dialogue is intense and impactful, especially during the interrogation between Col. Landa and Bridget.

Engagement: 9

This scene is engaging because of its high stakes, intense conflict, and emotional resonance. The audience is drawn into the characters' struggles and invested in the outcome of the interrogation.

Pacing: 9

The pacing of the scene is well-executed, with a gradual build-up of tension, a climactic moment of violence, and a brief resolution. The rhythm of the dialogue and action sequences enhances the scene's emotional impact.


Technical Aspect

Formatting: 8

The scene's formatting adheres to the expected standards for its genre, with clear scene headings, character actions, and dialogue cues. The visual descriptions enhance the reader's understanding of the setting and character dynamics.

Structure: 8

The scene follows a structured format that builds tension, reveals character motivations, and advances the plot effectively. The pacing and rhythm contribute to the scene's dramatic impact.


Critique
  • The scene effectively builds tension through the interaction between Col. Landa and Bridget, showcasing Landa's manipulative and predatory nature. However, the pacing feels uneven, particularly in the transition from dialogue to the physical confrontation. The initial dialogue is engaging but slows down as it leads into the violent climax, which could benefit from a more gradual build-up.
  • The dialogue is sharp and serves to highlight the power dynamics between Landa and Bridget. However, some lines, particularly Landa's insistence on Bridget putting her foot in his lap, could be perceived as overly theatrical, which may detract from the realism of the moment. Striking a balance between theatricality and authenticity is crucial in maintaining audience immersion.
  • The physicality of the scene is visceral and impactful, particularly in the choking sequence. However, it may benefit from more sensory details earlier in the scene to foreshadow the violence that follows. Describing Bridget's emotional state or physical reactions to Landa's advances before the violence could enhance the audience's connection to her plight.
  • The use of language adds depth to the characters, but the switch from German to English in Landa's final line feels abrupt. A smoother transition or a more gradual unveiling of Landa's true intentions could enhance the dramatic impact and maintain the tension as the scene progresses.
  • The scene's conclusion, where Landa calls the Führer, effectively sets the stage for the following events. However, it could be strengthened by tying Landa's actions directly to the overarching themes of power and betrayal that permeate the screenplay, thereby reinforcing the stakes involved.
Suggestions
  • Consider refining the pacing of the scene by interspersing moments of tension with brief pauses for character reflection or physical reactions, which can heighten the emotional stakes.
  • Evaluate the dialogue for moments that may feel overly theatrical and adjust them to ensure they align with the characters' established personalities and the scene's tone.
  • Incorporate sensory details that reflect Bridget's emotional state leading up to the violence, such as her heartbeat, sweat, or even the atmosphere in the room, to create a more immersive experience.
  • Smooth out the transition between languages, perhaps by having Landa start in German and then switch to English in a more organic way, allowing for a gradual reveal of his intentions.
  • Reinforce the thematic elements of power and betrayal by including a line or two that connects Landa's actions to the larger narrative, reminding the audience of the stakes at play and the consequences of this confrontation.



Scene 38 -  Landa's Triumph
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: ["War","Drama","Thriller"]

Summary After their failed attempt to infiltrate the premiere, Aldo Raine and Utivich are captured by Col. Landa. Landa brings them to a secluded tavern, where he reveals his awareness of their plan and mocks their disguises. He praises Utivich's driving skills while simultaneously taunting him about his height. The scene ends with Landa continuing to torment his prisoners, leaving their fate unclear.
Strengths
  • Sharp dialogue
  • Tension-filled atmosphere
  • Character dynamics
  • Power play dynamics
Weaknesses
  • Limited physical action
  • Heavy dialogue-driven

Ratings
Overall

Overall: 9

The scene is highly engaging, with a perfect blend of tension, suspense, and dark humor. The interrogation scene is a pivotal moment in the story, setting up the climax and revealing crucial information.


Story Content

Concept: 9

The concept of an interrogation between the antagonist and captured protagonists is executed brilliantly, adding depth to the characters and advancing the plot significantly. The power play and mind games enhance the scene's intensity.

Plot: 8

The plot thickens as Col. Landa interrogates the American soldiers, leading to revelations and escalating the conflict. The scene moves the story forward by introducing new challenges and raising the stakes for the characters.

Originality: 9

The scene presents a fresh take on interrogation and deception in a wartime setting, with authentic dialogue and character interactions that feel true to the historical context. The writer's original voice shines through in the unique dynamics between the characters.


Character Development

Characters: 9

The characters are well-developed and their personalities shine through in the dialogue and interactions. Col. Landa's cunning and the American soldiers' resilience are highlighted, adding depth to the scene.

Character Changes: 8

The characters undergo subtle changes in their demeanor and reactions during the interrogation, revealing more about their personalities and motivations. The power dynamics shift as the scene progresses.

Internal Goal: 8

Lt. Aldo's internal goal is to maintain his composure and protect his dignity in the face of interrogation and potential danger. This reflects his need for control and strength in challenging situations.

External Goal: 7

Lt. Aldo's external goal is to gather information about the whereabouts of his men and Bridget von Hammersmark. This reflects his immediate challenge of navigating the dangerous situation he is in.


Scene Elements

Conflict Level: 9

The conflict in the scene is palpable, with a battle of wits and power dynamics at play. The interrogation intensifies the conflict between the characters and raises the stakes for their survival.

Opposition: 8

The opposition in the scene is strong, with Col. Landa's interrogation tactics creating a sense of danger and uncertainty for the American soldiers. The audience is left wondering how the soldiers will navigate the challenges they face.

High Stakes: 9

The stakes are high in the scene, as the characters' lives are on the line during the interrogation. The outcome of the interrogation will have far-reaching consequences for the characters and the overall mission.

Story Forward: 9

The scene significantly moves the story forward by introducing new challenges, escalating the conflict, and setting up the climax. The interrogation scene is a turning point in the narrative.

Unpredictability: 8

This scene is unpredictable because of the shifting power dynamics, unexpected revelations, and the characters' hidden agendas. The audience is kept on edge, unsure of how the interrogation will unfold.

Philosophical Conflict: 8

The philosophical conflict in this scene is between deception and truth, as Col. Landa uses his detective skills to uncover information from the American soldiers. This challenges the soldiers' beliefs in loyalty and honesty.


Audience Engagement

Emotional Impact: 7

The scene evokes a range of emotions, from tension and anxiety to fear and resignation. The characters' predicament and the high-stakes situation create an emotional impact on the audience.

Dialogue: 10

The dialogue is sharp, witty, and full of tension, driving the scene forward and revealing the characters' motivations and personalities. The verbal sparring between Col. Landa and the American soldiers is a highlight.

Engagement: 9

This scene is engaging because of the high stakes, suspenseful atmosphere, and dynamic character interactions. The dialogue and actions keep the audience invested in the outcome of the interrogation.

Pacing: 8

The pacing of the scene is effective in building tension and suspense, with well-timed reveals and character interactions. The rhythm of the dialogue and actions enhances the scene's impact and keeps the audience engaged.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for a screenplay, with clear scene descriptions, character actions, and dialogue cues. The formatting enhances the readability and impact of the scene.

Structure: 8

The scene follows a structured format for a tense interrogation scene, with clear character motivations and escalating tension. The dialogue and actions are well-paced and contribute to the overall effectiveness of the scene.


Critique
  • The scene effectively builds tension as it features the confrontation between Col. Landa and Lt. Aldo Raine, both of whom are established characters with strong motivations. The dialogue is sharp and filled with subtext, showcasing Landa's manipulative nature and Aldo's resolve.
  • However, the pacing could be improved. The transition from the truck to the tavern feels abrupt, and the emotional weight of Utivich's vulnerability is somewhat diluted by the humor in Aldo's dialogue. While the humor is a staple of Tarantino's style, it risks undermining the gravity of the situation.
  • The dialogue is clever, but it could benefit from a stronger emotional anchor. Utivich's crying and Aldo's attempts to comfort him are poignant, yet the humor that follows can come off as jarring. Balancing the humor with the emotional stakes would enhance the scene's impact.
  • The setting of the tavern is visually interesting, but the description lacks specificity. More vivid details about the tavern's atmosphere could enhance the mood and reflect the tension of the situation. For instance, describing the smell of the Chianti or the dim lighting could create a more immersive experience.
  • Landa's character is well-developed through his dialogue, but the scene could further emphasize his psychological dominance over Aldo and Utivich. Adding more physicality to Landa's actions or expressions could heighten the sense of threat he poses.
Suggestions
  • Consider adding more sensory details to the tavern setting to create a stronger atmosphere, such as sounds, smells, and visuals that convey tension.
  • Balance the humor with the emotional stakes by allowing moments of silence or seriousness to punctuate the dialogue, especially during Utivich's vulnerable moments.
  • Explore Landa's psychological manipulation further by incorporating more physical gestures or expressions that demonstrate his control over the situation.
  • Refine the pacing between the truck and tavern transitions to ensure a smoother flow, possibly by including a brief moment of introspection or dialogue that highlights the gravity of their situation.
  • Enhance the emotional weight of Utivich's character by providing more context or backstory earlier in the script, allowing the audience to invest more in his plight.



Scene 39 -  Landa's Gambit
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","Drama","Thriller"]

Summary Colonel Landa, in a chilling display of manipulation, reveals the perilous situation of Aldo's comrades, Donowitz and Hirschberg, while taunting them with the fate of Bridget von Hammersmark. He proposes a deal: he will help them achieve their mission to kill Nazi officials if they can secure a radio communication with someone in authority to negotiate his conditional surrender. The scene ends with Landa preparing to contact American brass, leaving Aldo and his team caught in a tense and uncertain situation.
Strengths
  • Tension
  • Suspense
  • Dramatic Dialogue
  • Character Dynamics
  • High Stakes
Weaknesses
  • Complexity
  • Pacing

Ratings
Overall

Overall: 9

The scene is highly engaging, filled with tension, suspense, and high stakes. The negotiation adds depth to the plot and characters, keeping the audience on the edge of their seats.


Story Content

Concept: 9

The concept of a negotiation for conditional surrender in the midst of a war sets up a unique and intense scenario. It adds complexity to the plot and characters, driving the story forward in a compelling way.

Plot: 9

The plot is driven by the high-stakes negotiation between Col. Landa and the Basterds, adding layers of tension and suspense. The negotiation propels the story forward and sets up a crucial turning point.

Originality: 9

The scene presents a fresh take on the World War II genre by focusing on moral dilemmas and strategic negotiation rather than traditional action sequences. The characters' actions and dialogue feel authentic and add depth to the narrative.


Character Development

Characters: 8

The characters, especially Col. Landa and the Basterds, are well-developed and their interactions during the negotiation reveal their motivations and personalities. The dialogue showcases their strengths and vulnerabilities.

Character Changes: 7

The negotiation scene leads to subtle changes in the characters' dynamics and motivations. Col. Landa's manipulative tactics and the Basterds' reactions reveal new layers to their personalities, setting up potential character arcs.

Internal Goal: 8

The protagonist's internal goal is to navigate the moral complexities of the situation and make a decision that aligns with their values and beliefs.

External Goal: 9

The protagonist's external goal is to prevent the terrorist plot from succeeding and potentially end the war by making a deal with the antagonist.


Scene Elements

Conflict Level: 9

The conflict in the scene is intense and multi-layered, involving power dynamics, moral dilemmas, and high stakes. The negotiation creates a sense of uncertainty and suspense, driving the tension to a peak.

Opposition: 8

The opposition in the scene is strong, with conflicting goals, moral dilemmas, and strategic negotiation creating obstacles for the characters.

High Stakes: 10

The negotiation scene is filled with high stakes, as the outcome could potentially end the war. The characters' lives and the fate of the mission hang in the balance, creating a sense of urgency and importance.

Story Forward: 9

The negotiation scene significantly moves the story forward by introducing a crucial turning point and setting up the climax. It propels the plot towards a resolution while adding complexity and depth to the narrative.

Unpredictability: 8

This scene is unpredictable because of the shifting power dynamics, moral dilemmas, and unexpected twists in the negotiation.

Philosophical Conflict: 8

The philosophical conflict revolves around the morality of sacrificing lives for the greater good and the ethical implications of making deals with the enemy.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, including tension, anxiety, and anticipation. The high stakes and dramatic dialogue heighten the emotional impact, keeping the audience emotionally invested in the outcome.

Dialogue: 9

The dialogue is sharp, intense, and filled with subtext. It drives the negotiation forward, revealing the characters' intentions and creating a sense of urgency. The dialogue enhances the tension and suspense in the scene.

Engagement: 9

This scene is engaging because of its high stakes, moral dilemmas, and strategic negotiation, keeping the audience on the edge of their seats.

Pacing: 9

The pacing of the scene builds tension effectively, leading to a climactic moment of decision-making that drives the narrative forward.


Technical Aspect

Formatting: 9

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

Structure: 9

The scene follows a structured format that builds tension and suspense effectively, leading to a climactic moment of decision-making.


Critique
  • The scene effectively builds tension through the power dynamics between Col. Landa and the Basterds. Landa's taunting nature and his manipulation of Aldo and Utivich create a palpable sense of dread, which is essential for maintaining audience engagement.
  • Landa's dialogue is sharp and full of subtext, showcasing his intelligence and cunning. However, there are moments where the pacing could be tightened. Some of Landa's monologues, while engaging, could be trimmed to maintain momentum and keep the audience on edge.
  • The stakes are clearly established with the mention of the explosives strapped to Donowitz and Hirschberg, which adds urgency to the scene. However, the scene could benefit from a more visceral reaction from Aldo and Utivich upon learning their comrades' fate. Their disbelief feels somewhat muted given the gravity of the situation.
  • The humor interspersed within Landa's dialogue adds an interesting layer to his character, but it occasionally undercuts the tension. Striking a balance between humor and suspense is crucial here, as too much levity could diminish the stakes.
  • The transition between Landa's negotiation and the cinematic action with Shosanna is well executed, but it could be made more seamless. The contrast between the tension in Landa's negotiation and the excitement of the film premiere could be enhanced to heighten the stakes even further.
Suggestions
  • Consider tightening Landa's dialogue to maintain a brisk pace and heighten the tension. Aim for brevity in some of his monologues to keep the audience engaged.
  • Enhance Aldo and Utivich's emotional response upon realizing the danger their comrades are in. This could involve more physicality or dialogue that expresses their horror or disbelief.
  • Reassess the balance between humor and tension in Landa's dialogue. Ensure that the humor serves to enhance the scene rather than detract from the impending sense of doom.
  • Make the transition between Landa's negotiation and Shosanna's actions more fluid. This could involve using visual cues or sound design to connect the two narratives more effectively.
  • Incorporate more visual storytelling elements to emphasize the stakes, such as close-ups of Aldo and Utivich's expressions as they process Landa's information, or quick cuts to Donowitz and Hirschberg in their seats to remind the audience of their peril.



Scene 40 -  Landa's Audacious Demands
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","Drama","Thriller"]

Summary Colonel Landa, disguised as an American officer, negotiates his surrender over the radio, demanding a lavish reward for his supposed role in defeating the Nazis. Despite his audacious claims, the American military accepts his terms, highlighting his manipulative skills. Aldo Raine, acting on orders, informs Landa that he is being taken prisoner for debriefing. The scene ends with Landa proposing a toast to the Basterds' success, showcasing his ability to manipulate even in defeat and create a sense of shared purpose.
Strengths
  • Tension-filled negotiation
  • Sharp dialogue
  • High stakes
  • Character development
Weaknesses
  • Complexity of communication method may be confusing for some viewers

Ratings
Overall

Overall: 9

The scene is intense, suspenseful, and crucial to the plot, with high stakes and significant character development.


Story Content

Concept: 9

The concept of a double agent negotiating with the enemy adds depth to the story and raises the tension. The unique communication method between Donowitz and Hirschberg adds a layer of humor and creativity.

Plot: 9

The plot is advanced significantly through the negotiation, character interactions, and the impending climax at the cinema premiere.

Originality: 9

The scene offers a fresh perspective on post-war negotiations and the complexities of wartime morality, with authentic character interactions and dialogue.


Character Development

Characters: 8

The characters are well-developed, with Col. Landa showcasing his cunning and manipulative nature, while Lt. Aldo demonstrates his determination and strategic thinking.

Character Changes: 7

Col. Landa's reveal as a double agent and the negotiation with Lt. Aldo showcase a shift in his character, adding complexity to his persona.

Internal Goal: 8

Col. Landa's internal goal is to secure his future and reputation by negotiating for his military pension, benefits, and recognition for his role in toppling the Third Reich.

External Goal: 7

Col. Landa's external goal is to successfully negotiate his surrender and transfer to the American forces.


Scene Elements

Conflict Level: 9

The conflict between Col. Landa and Lt. Aldo, as well as the impending danger faced by Donowitz and Hirschberg, creates a high level of tension and suspense.

Opposition: 8

The opposition in the scene is strong, with conflicting goals and motivations creating tension and uncertainty.

High Stakes: 9

The high stakes of the negotiation, the impending danger faced by Donowitz and Hirschberg, and the overall tension in the scene contribute to a sense of urgency and importance.

Story Forward: 9

The scene significantly moves the story forward, setting the stage for the climax at the cinema premiere and resolving key plot points.

Unpredictability: 8

The scene is unpredictable due to the shifting power dynamics and moral dilemmas faced by the characters.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the morality of Col. Landa's actions during the war and his attempt to justify them as necessary for the greater good.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from anxiety to anticipation, as the characters navigate a dangerous situation.

Dialogue: 8

The dialogue is sharp, tense, and impactful, especially during the negotiation scene between Col. Landa and Lt. Aldo.

Engagement: 9

This scene is engaging due to its high stakes, complex character dynamics, and suspenseful negotiations.

Pacing: 8

The pacing of the scene effectively builds tension and suspense, leading to a satisfying resolution.


Technical Aspect

Formatting: 8

The scene follows standard formatting for its genre, with clear scene descriptions and character actions.

Structure: 8

The scene follows a clear structure with well-paced dialogue and action, effectively building tension and conflict.


Critique
  • The scene effectively builds tension through the juxtaposition of Landa's calm demeanor and the high stakes of the situation. However, the dialogue could be tightened to enhance the pacing, particularly in Landa's lengthy monologue about his demands. This could risk losing the audience's attention as it drags on.
  • Landa's character remains consistent and compelling, showcasing his manipulative nature. However, the scene may benefit from providing a clearer emotional response from Aldo and Utivich. Their reactions to Landa's demands could add depth to the conflict and highlight the psychological warfare at play.
  • The visual transitions between Landa's conversation and the flashback of him placing the bomb are effective in illustrating his cunning. However, the flashback could be more impactful if it were integrated more seamlessly into the dialogue, perhaps through a more vivid description or a brief moment of reflection from Landa.
  • The humor in the exaggerated Italian accents and pantomime adds a layer of absurdity to the tension, but it risks undermining the gravity of the situation. Balancing this humor with the seriousness of the impending violence could enhance the scene's overall emotional impact.
  • The final toast to history feels somewhat detached from the immediate stakes of the scene. While it emphasizes Landa's self-serving nature, it might be more powerful if it included a more direct acknowledgment of the lives at stake or a more personal connection to the characters involved.
Suggestions
  • Consider condensing Landa's monologue by focusing on the most critical demands and cutting any less impactful lines. This would maintain the tension and keep the audience engaged.
  • Add more subtle reactions from Aldo and Utivich throughout Landa's speech to emphasize their discomfort and the high stakes of the negotiation. This could be achieved through body language or brief interjections.
  • Integrate the flashback more closely with Landa's dialogue, perhaps by having him reflect on the act while discussing his contributions, creating a more immersive experience.
  • Evaluate the use of humor in the scene. If it feels out of place, consider toning it down or reworking it to ensure it complements rather than detracts from the tension.
  • Enhance the final toast by adding a line that directly references the consequences of their actions, reminding the audience of the weight of the moment and the lives affected by the war.



Scene 41 -  The Ticking Clock
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: ["War","Drama","Thriller"]

Summary As a Nazi film premiere unfolds, Sgt. Donowitz plants a bomb in the cinema's bathroom, navigating a crowded smoking lounge with Nazi soldiers. Meanwhile, Marcel prepares to burn the film prints behind the screen, and Fredrick attempts to charm Shosanna in the projection booth, only to be met with indifference. The scene culminates with Donowitz setting the bomb timer, leaving the fate of the cinema hanging in the balance.
Strengths
  • Tension-filled atmosphere
  • Strategic planning
  • Sharp dialogue
  • High stakes
  • Character dynamics
Weaknesses
  • Some dialogue may be confusing due to language play

Ratings
Overall

Overall: 9

The scene is highly engaging, filled with tension, suspense, and high stakes. The strategic planning and execution of the bombing plan keep the audience on the edge of their seats.


Story Content

Concept: 9

The concept of infiltrating a cinema filled with Nazi officials and planting a bomb to execute a mission is innovative and gripping. The scene effectively conveys the risks and complexities involved in such an operation.

Plot: 9

The plot is well-developed, with a clear objective of planting the bomb and executing the mission. The scene effectively builds tension and suspense as the characters navigate through the dangerous situation.

Originality: 9

The scene introduces a fresh perspective on resistance against the Nazis, with unique character interactions and a high-stakes mission. The authenticity of the characters' actions and dialogue adds originality to the scene.


Character Development

Characters: 8

The characters are well-defined and their motivations are clear. Each character plays a crucial role in the mission, adding depth and complexity to the scene.

Character Changes: 7

Some characters undergo changes in their beliefs, motivations, and actions as they navigate through the dangerous mission. The challenges they face force them to adapt and make difficult decisions.

Internal Goal: 8

Sgt. Donowitz's internal goal is to successfully plant the bomb and escape without being caught. This reflects his desire to disrupt the Nazi event and contribute to the resistance against the Nazis.

External Goal: 7

Sgt. Donowitz's external goal is to plant the bomb and ensure it detonates at the right time to cause chaos and destruction. This goal reflects the immediate challenge of executing a dangerous mission in a high-security environment.


Scene Elements

Conflict Level: 9

The conflict in the scene is intense and multi-layered, with internal conflicts among the characters and the external conflict of executing a dangerous mission. The high stakes and opposing goals create a sense of urgency and tension.

Opposition: 8

The opposition in the scene is strong, with Donowitz facing multiple challenges and obstacles in executing his mission. The presence of Nazi guards and the high-security environment create a sense of danger and uncertainty.

High Stakes: 10

The stakes in the scene are extremely high, as the characters risk their lives to plant a bomb in a cinema filled with Nazi officials. The success of the mission could have far-reaching consequences for the war effort and the fight against oppression.

Story Forward: 9

The scene significantly moves the story forward by advancing the characters' mission, escalating the conflict, and setting the stage for the climax of the narrative. The strategic planning and execution of the bombing plan propel the plot towards its resolution.

Unpredictability: 8

This scene is unpredictable because of the unexpected twists in character interactions and the high-risk mission. The audience is kept on edge, unsure of the outcome of Donowitz's plan.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the resistance against the oppressive Nazi regime. Donowitz's actions challenge the Nazi authority and represent a clash of values between freedom and tyranny.


Audience Engagement

Emotional Impact: 8

The scene evokes fear, tension, and anxiety in the audience, as they are invested in the characters' mission and the outcome of the dangerous situation. The emotional impact is heightened by the high stakes and the characters' sacrifices.

Dialogue: 8

The dialogue is sharp, tense, and effectively conveys the urgency and high stakes of the situation. The interactions between the characters drive the plot forward and add depth to their relationships.

Engagement: 9

This scene is engaging because of its high stakes, suspenseful atmosphere, and well-developed characters. The tension and conflict keep the audience invested in the outcome of the mission.

Pacing: 9

The pacing of the scene builds tension and suspense effectively, keeping the audience engaged and invested in the characters' actions. The rhythm of the scene enhances its impact and sets up the climax.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene descriptions and character actions. The formatting enhances the visual storytelling and helps convey the scene's atmosphere.

Structure: 8

The scene follows a structured format that builds tension and suspense effectively. The pacing and rhythm contribute to the scene's intensity and keep the audience engaged.


Critique
  • The dialogue in this scene attempts to create a comedic effect through the use of broken English and exaggerated accents, but it risks becoming confusing for the audience. The humor may distract from the tension of the moment, which is critical given the stakes involved with the bomb-planting operation.
  • The scene's pacing is inconsistent. While the tension should build as Donowitz prepares to plant the bomb, the comedic exchanges between Donowitz and Hirschberg slow the momentum. This could undermine the urgency of the situation, especially since the characters are in a high-stakes environment.
  • The transition between Donowitz's actions and Marcel's actions could be clearer. The scene shifts from Donowitz's perspective to Marcel's without a strong visual or narrative cue, which could disorient the audience. More distinct transitions would enhance clarity.
  • The visual elements are not fully utilized. While the scene describes the setting well, it could benefit from more vivid imagery and descriptions that emphasize the tension and danger. For example, detailing the expressions and body language of the Nazi soldiers would heighten the stakes.
  • The character dynamics between Donowitz and Hirschberg feel underdeveloped. While their banter serves to lighten the mood, it lacks depth. Exploring their relationship and adding emotional stakes could make the scene more engaging.
Suggestions
  • Consider simplifying the dialogue to maintain clarity while still conveying the comedic elements. Focus on punchy one-liners or misunderstandings that don't require excessive explanation.
  • Increase the urgency of the scene by tightening the dialogue and reducing comedic exchanges. This will help maintain the tension as Donowitz prepares to plant the bomb.
  • Use clearer transitions between character perspectives to avoid confusion. For instance, consider using a visual cue or a brief description to indicate when the focus shifts from Donowitz to Marcel.
  • Enhance the visual storytelling by incorporating more detailed descriptions of the characters' physical reactions and the environment. This can help build tension and create a more immersive experience for the audience.
  • Deepen the relationship between Donowitz and Hirschberg by adding a moment of camaraderie or shared history. This could help the audience invest more emotionally in their mission and the dangers they face.



Scene 42 -  Bloodbath in the Theater
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","Thriller"]

Summary A violent confrontation erupts in a Nazi-occupied movie theater. Donny, disguised as a civilian, kills a Nazi soldier in the washroom, sparking a bloody shootout. Meanwhile, Shosanna confronts Fredrick in the projection room, shooting him multiple times but ultimately falling victim to his retaliation, leaving both of them dead in a pool of blood.
Strengths
  • Intense conflict
  • Emotional impact
  • High stakes
  • Tragic elements
Weaknesses
  • High level of violence
  • Tragic deaths

Ratings
Overall

Overall: 9

This scene is intense, tragic, and filled with high stakes, making it a gripping and memorable moment in the screenplay.


Story Content

Concept: 9

The concept of a deadly confrontation, betrayal, and tragic deaths is executed effectively, creating a powerful and impactful scene.

Plot: 8

The plot advances significantly in this scene with major character deaths, betrayals, and the resolution of conflicts, leading to a dramatic climax.

Originality: 9

The scene introduces unique situations such as the swastika forehead soldier and the unexpected turn of events with Shosanna and Fredrick. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 8

The characters' actions and decisions drive the intense conflict and tragic outcomes in this scene, showcasing their motivations and loyalties.

Character Changes: 8

Several characters undergo significant changes in this scene, facing betrayals, making difficult decisions, and ultimately meeting tragic fates.

Internal Goal: 9

The protagonist's internal goal in this scene is to survive and protect herself from the threats posed by the Nazis and Fredrick. This reflects her deeper need for autonomy, safety, and justice.

External Goal: 8

The protagonist's external goal in this scene is to prevent Fredrick from entering the projection room and to defend herself against his aggression. This reflects the immediate challenge she faces in maintaining control over her own space and safety.


Scene Elements

Conflict Level: 9

The conflict in this scene is at its peak, with characters facing off against each other, resulting in deadly consequences and emotional turmoil.

Opposition: 8

The opposition in the scene is strong, with conflicts arising from power struggles, moral dilemmas, and life-threatening situations. The audience is kept in suspense about the characters' fates.

High Stakes: 9

The stakes are incredibly high in this scene, with characters' lives on the line, betrayals unfolding, and the outcome determining the fate of the mission and the characters involved.

Story Forward: 9

This scene propels the story forward towards its climax, resolving conflicts, revealing betrayals, and setting the stage for the final act.

Unpredictability: 8

This scene is unpredictable because of the sudden shifts in power dynamics, character choices, and outcomes. The audience is kept on edge, unsure of how the conflicts will be resolved.

Philosophical Conflict: 9

The philosophical conflict evident in this scene is the clash between power and resistance, as represented by the Nazis' authority and Shosanna's defiance. This challenges the protagonist's beliefs in justice, freedom, and resistance against oppression.


Audience Engagement

Emotional Impact: 9

The scene evokes strong emotions from the audience, with tragic deaths, betrayals, and intense confrontations leading to a powerful and emotional impact.

Dialogue: 7

The dialogue is tense and impactful, revealing the characters' emotions, motivations, and the high stakes of the situation.

Engagement: 9

This scene is engaging because of its intense conflict, high stakes, and unexpected twists. The fast-paced action and emotional drama keep the audience invested in the characters' fates.

Pacing: 9

The pacing of the scene effectively builds suspense, action, and emotional impact. It maintains a rhythm that keeps the audience engaged and invested in the unfolding events.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene descriptions, character actions, and dialogue cues. It enhances the visual and emotional impact of the scene.

Structure: 8

The scene follows a structured format that effectively builds tension, conflict, and resolution. It maintains a clear progression of events and character interactions.


Critique
  • The scene effectively builds tension through the use of contrasting locations: the washroom and the projection booth. The shift between these two spaces heightens the stakes, as the audience knows that violence is imminent, but the characters in the projection booth are unaware of the chaos unfolding below. This creates dramatic irony, which is a strong storytelling technique.
  • The use of the swastika carved into the forehead of the Nazi soldier is a powerful visual symbol that underscores the brutality of the Basterds and their mission. It serves as a reminder of the consequences of their actions, but it also raises questions about identity and the psychological scars left by war.
  • The dialogue between Shosanna and Fredrick is sharp and confrontational, effectively showcasing the power dynamics between them. Shosanna's resistance to Fredrick's advances adds depth to her character, portraying her as strong-willed and determined. However, Fredrick's aggressive behavior shifts the tone, making him appear more menacing, which could alienate some viewers who may find it difficult to empathize with him.
  • The pacing of the scene is mostly effective, but the transition from the washroom shootout to the confrontation between Shosanna and Fredrick could be smoother. The abrupt shift in focus might disorient the audience. A more gradual transition or a brief moment of reflection from Shosanna could help maintain the emotional continuity.
  • The climax of the scene, where Fredrick and Shosanna shoot each other, is intense and visceral, but it may benefit from a clearer emotional anchor. While the physicality of the violence is impactful, grounding it in Shosanna's emotional state or her memories of her family could heighten the stakes and make the audience feel more connected to her plight.
Suggestions
  • Consider adding a brief moment of internal reflection for Shosanna before the confrontation with Fredrick. This could enhance the emotional weight of the scene and provide context for her actions.
  • To improve the transition between the washroom shootout and the projection booth, consider incorporating a sound cue or visual element that connects the two locations, such as the sound of gunfire echoing in the projection room, foreshadowing the impending chaos.
  • Explore Fredrick's character further to provide a more nuanced portrayal. Instead of making him solely menacing, consider moments where he reveals vulnerability or desperation, which could create a more complex antagonist.
  • Enhance the dramatic irony by giving Shosanna a moment where she senses something is wrong, perhaps through the sounds of the shootout below. This could build suspense and make her eventual confrontation with Fredrick feel more inevitable.
  • After the shootout, consider a moment where Shosanna reflects on her actions or the loss of Fredrick, allowing the audience to process the emotional fallout of the violence and reinforcing her tragic journey.



Scene 43 -  Vengeance Unleashed
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: ["War","Drama","Action","Thriller"]

Summary In a tense climax, Shosanna, despite her injuries, executes a reel change in the projection booth, delivering a powerful message of vengeance against the Nazis on screen. As Hitler and Goebbels watch, oblivious to the impending doom, Hirschberg navigates the audience with a bomb. The scene culminates in a massive explosion that kills key Nazi figures and leads to the cinema's destruction, marking the success of 'Operation Kino.'
Strengths
  • Intense action sequences
  • Emotional depth
  • Complex characters
  • High stakes
  • Climactic resolution
Weaknesses
  • Graphic violence
  • Tragic outcomes
  • Complex plot twists

Ratings
Overall

Overall: 9

The scene is highly impactful, with a mix of intense action, emotional drama, and high stakes. It effectively delivers a climactic moment of revenge and retribution, leading to significant consequences for the characters and the overall story.


Story Content

Concept: 9

The concept of the scene, focusing on a final showdown and revenge plot, is executed with intensity and depth. It effectively builds tension and suspense, leading to a dramatic and impactful conclusion.

Plot: 9

The plot of the scene is engaging and well-developed, with a clear focus on revenge, betrayal, and high-stakes conflict. It moves the story forward significantly and sets the stage for the resolution of key conflicts.

Originality: 9

The scene is highly original in its depiction of a climactic showdown between the protagonist and the Nazis, with fresh approaches to revenge and resistance. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 8

The characters in the scene are well-defined and play crucial roles in the unfolding events. Their actions and decisions drive the plot forward and contribute to the overall intensity and drama of the scene.

Character Changes: 8

Several characters undergo significant changes during the scene, facing moral dilemmas, betrayals, and acts of revenge that alter their perspectives and motivations. These changes drive the narrative forward and contribute to the overall emotional depth of the scene.

Internal Goal: 9

Shosanna's internal goal is to execute the reel change and get her revenge on the Nazis. This reflects her deeper desire for justice and retribution for the atrocities committed against her family.

External Goal: 8

The protagonist's external goal is to set off the bomb and eliminate the Nazi high command. This reflects the immediate circumstances and challenges she faces in the scene.


Scene Elements

Conflict Level: 9

The conflict in the scene is intense and multi-layered, involving personal vendettas, political intrigue, and moral dilemmas. It creates a high-stakes situation with dire consequences for the characters involved.

Opposition: 9

The opposition in the scene is strong, with obstacles and challenges that keep the audience on edge and unsure of the outcome.

High Stakes: 9

The stakes in the scene are incredibly high, with lives on the line, betrayals exposed, and revenge plots unfolding. The characters face life-changing decisions and confrontations that will have lasting consequences for themselves and the world around them.

Story Forward: 9

The scene moves the story forward significantly, resolving key conflicts, setting up the climax, and leading to the resolution of major plot points. It propels the narrative towards its conclusion while introducing new twists and revelations.

Unpredictability: 9

This scene is unpredictable because of the unexpected twists and turns, such as the bomb explosions and the dramatic showdown between Shosanna and the Nazis.

Philosophical Conflict: 9

The philosophical conflict in this scene is the clash between Shosanna's desire for vengeance and the Nazi regime's propaganda and power. This challenges her beliefs and values as she takes a stand against the oppressors.


Audience Engagement

Emotional Impact: 9

The scene has a significant emotional impact, evoking feelings of tension, suspense, tragedy, and catharsis. The intense and dramatic events elicit strong emotional responses from the audience, making it a memorable and impactful moment in the story.

Dialogue: 8

The dialogue in the scene is impactful and serves to heighten the tension and emotion of the moment. It effectively conveys the characters' motivations, conflicts, and emotions, adding depth to the overall narrative.

Engagement: 10

This scene is engaging because of its high stakes, intense action, and emotional impact. The audience is drawn into the conflict and resolution.

Pacing: 9

The pacing of the scene is expertly crafted, building tension and suspense while maintaining a sense of urgency and momentum.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene descriptions and dialogue formatting.

Structure: 8

The scene follows the expected structure for its genre, building tension and suspense towards a climactic resolution.


Critique
  • The scene effectively builds tension by juxtaposing Shosanna's desperate struggle with the audience's obliviousness to the chaos about to unfold. This contrast heightens the emotional stakes and contributes to the overall suspense of the climax.
  • Shosanna's transformation from a victim to a powerful figure through her giant image on the screen is a brilliant visual metaphor for her revenge. It symbolizes her reclaiming agency and confronting her oppressors, which is a strong thematic element.
  • The pacing of the scene is well-executed, with the slow-motion elements emphasizing Shosanna's struggle and the impending explosion. However, the transition between her physical struggle and the explosive climax could be smoother to maintain momentum.
  • The dialogue delivered by Shosanna's giant face is impactful and serves as a powerful declaration of vengeance. However, the use of French may alienate some audience members who do not understand the language, potentially diminishing the emotional impact.
  • The visual imagery is striking, particularly the explosion and the chaos that follows. However, the description of the aftermath could be more concise to avoid overwhelming the reader with details, allowing the emotional weight of the scene to resonate more effectively.
Suggestions
  • Consider providing a brief translation of Shosanna's dialogue for clarity, ensuring that all audience members can fully grasp the significance of her words.
  • Enhance the transition between Shosanna's struggle and the explosion by incorporating more sensory details, such as sounds or vibrations, to create a more immersive experience.
  • Streamline the descriptions of the aftermath of the explosion to focus on key visual elements that highlight the chaos, rather than listing every detail of the destruction.
  • Explore the emotional reactions of the audience members as the explosion occurs, adding depth to the scene by showing their fear and panic in contrast to Shosanna's empowerment.
  • Consider emphasizing Shosanna's internal thoughts or flashbacks during her final moments to further connect the audience with her character and the weight of her actions.



Scene 44 -  A Swastika for a Deal
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: ["War","Drama","Thriller"]

Summary After capturing Colonel Landa and his driver, Herrman, Aldo Raine unexpectedly kills Herrman. Landa, horrified, pleads for reason but Aldo explains his need for Landa’s expertise. Landa reveals his deal with the high command to end the war, but Aldo is unconcerned with rewards, only with the war's conclusion. As a final act of dominance and a grotesque symbol of Landa's betrayal, Aldo carves a swastika into Landa's forehead, leaving him terrified and defeated.
Strengths
  • Intense dialogue
  • Complex characters
  • High stakes
  • Emotional impact
Weaknesses
  • Graphic violence
  • Dark themes

Ratings
Overall

Overall: 9

The scene is highly impactful, with intense moments, shocking revelations, and a significant turning point in the story. The tension is palpable, and the characters' actions have lasting consequences.


Story Content

Concept: 9

The concept of surrender, betrayal, and revenge is executed with precision and depth in this scene. The idea of sacrificing one life for the greater good and the brutal act of revenge add layers to the narrative.

Plot: 8

The plot advances significantly in this scene with the surrender of Col. Landa, the brutal act of revenge by Lt. Aldo, and the shifting dynamics between the characters. The stakes are raised, and the story takes a dark turn.

Originality: 9

The scene is original in its portrayal of power dynamics, revenge, and moral ambiguity. The characters' actions and dialogue feel authentic and unpredictable, adding depth to the narrative.


Character Development

Characters: 9

The characters in this scene are complex, with Col. Landa showing vulnerability and manipulation, Lt. Aldo displaying ruthlessness and cunning, and Utivich demonstrating loyalty and resilience. The interactions between them drive the narrative forward.

Character Changes: 8

Col. Landa undergoes a significant change in this scene, from a position of power and manipulation to vulnerability and defeat. Lt. Aldo's character is also further developed through his ruthless actions and moral choices.

Internal Goal: 9

The protagonist's internal goal is to assert his power and authority over his enemy, while also seeking revenge for past actions. This reflects his desire for control and justice.

External Goal: 8

The protagonist's external goal is to capture and interrogate the enemy, while also making a statement about his power and determination.


Scene Elements

Conflict Level: 9

The conflict in this scene is intense and multi-layered, with emotional, moral, and physical confrontations between the characters. The power struggle and the high stakes drive the tension to a breaking point.

Opposition: 8

The opposition in the scene is strong, with conflicting motivations and actions from the characters. The audience is left unsure of the outcome, adding to the suspense and drama.

High Stakes: 9

The stakes are incredibly high in this scene, with lives on the line, power dynamics at play, and moral dilemmas to navigate. The characters' decisions have far-reaching consequences, adding to the tension and drama.

Story Forward: 9

The scene propels the story forward with a major turning point, setting up new conflicts and resolutions. The consequences of the characters' actions have a lasting impact on the narrative.

Unpredictability: 9

This scene is unpredictable because of the characters' conflicting motivations and actions. The audience is kept guessing about the outcome, adding to the suspense and tension.

Philosophical Conflict: 9

The philosophical conflict is between the protagonist's sense of justice and revenge, and the antagonist's plea for mercy and understanding. It challenges the protagonist's beliefs about morality and the consequences of his actions.


Audience Engagement

Emotional Impact: 9

The scene evokes strong emotions from the audience, with moments of shock, tension, and catharsis. The characters' actions and the consequences of their decisions resonate on an emotional level.

Dialogue: 9

The dialogue in this scene is sharp, impactful, and reveals the true nature of the characters. The exchanges between Col. Landa, Lt. Aldo, and Utivich are tense and full of subtext, adding depth to the scene.

Engagement: 9

This scene is engaging because of its tension, suspense, and moral complexity. The characters' actions and dialogue keep the audience on edge, wondering what will happen next.

Pacing: 8

The pacing of the scene is effective in building tension and suspense, with a gradual escalation of conflict and resolution. The rhythm of the dialogue adds to the overall atmosphere.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene descriptions and character actions. The dialogue is well-written and adds to the overall atmosphere.

Structure: 8

The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution. The pacing and rhythm contribute to its effectiveness.


Critique
  • The dialogue in this scene is sharp and character-driven, particularly Aldo's confident and defiant attitude towards Landa. This effectively showcases the power dynamics shifting as Aldo takes control of the situation. However, the scene could benefit from a more gradual build-up to the climactic moment of Landa's branding, allowing for more tension and suspense.
  • Landa's character is well-established as cunning and manipulative, but in this scene, he appears somewhat passive and reactive, which can diminish his imposing presence. Strengthening his responses to Aldo's taunts could enhance his character's complexity and maintain the tension.
  • The use of humor, particularly Aldo's ghoulish giggle after carving the swastika, effectively contrasts the brutality of the act. However, the tonal shift might feel jarring for some viewers. Balancing the dark humor with the gravity of the situation could improve the emotional impact.
  • The visual description of Landa's branding is powerful, but it may benefit from more sensory detail to immerse the audience in the moment. Describing the sounds, smells, and sensations could heighten the intensity of the scene.
  • The pacing of the scene is generally effective, but the transition from dialogue to action could be smoother. The moment Aldo shoots Herrman feels abrupt; a brief moment of silence or a reaction shot could amplify the shock value and allow the audience to process the gravity of the action.
Suggestions
  • Consider adding a moment of hesitation or internal conflict for Aldo before he brands Landa, which could deepen his character and make the act feel more significant.
  • Enhance Landa's dialogue to reflect his intelligence and cunning even in a compromised position. He could attempt to manipulate Aldo emotionally or psychologically, which would maintain his character's complexity.
  • Introduce more sensory details during the branding scene to create a visceral experience for the audience, such as the sound of the knife cutting into flesh or the expressions on the characters' faces.
  • Revisit the pacing by allowing for a brief moment of silence or a reaction shot after Herrman's death to let the weight of the action sink in for both the characters and the audience.
  • Explore the aftermath of the branding more thoroughly, perhaps including Landa's emotional or physical reaction to the act, to emphasize the brutality of Aldo's actions and the consequences of their conflict.