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Scene 1 -  Schindler's Nightclub Encounter
2. INT. HOTEL ROOM - CRACOW, POLAND - NIGHT 2.

The song plays from a radio on a rust-stained sink.
2.


The light in the room is dismal, the furniture cheap. The
curtains are faded, the wallpaper peeling … but the clothes
laid out across the single bed are beautiful.

The hands of a man button the shirt, belt the slacks. He
slips into the double-breasted jacket, knots the silk tie,
folds a handkerchief and tucks it into the jacket pocket, all
with great deliberation.

A bureau. Some currency, cigarettes, liquor, passport. And
an elaborate gold-on-black enamel Hakenkreuz (or swastika)
which the gentleman pins to the lapel of his elegant dinner
jacket.

He steps back to consider his reflection in the mirror. He
likes what he sees: Oskar Schindler - salesman from Zwittau -
looking almost reputable in his one nice suit.

Even in this awful room.

3. INT. NIGHTCLUB - CRACOW, POLAND - NIGHT 3.

A spotlight slicing across a crowded smoke-choked club to a
small stage where a cabaret performer sings.

It’s September, 1939. General Sigmund List’s armored
divisions, driving north from the Sudetenland, have taken
Cracow, and now, in this club, drinking, socializing,
conducting business, is a strange clientele: SS officers and
Polish cops, gangsters and girls and entrepreneurs, thrown
together by the circumstance of war.

Oskar Schindler, drinking alone, slowly scans the room, the
faces, stripping away all that’s unimportant to him, settling
only on details that are: the rank of this man, the higher
rank of that one, money being slipped into a hand.

A WAITER SETS DOWN DRINKS

in front of the SS officer who took the money. A lieutenant,
he’s at a table with his girlfriend and a lower-ranking
officer.
3.


WAITER
From the gentleman.

The waiter is gesturing to a table across the room where
Schindler, seemingly unaware of the SS men, drinks with the
best-looking woman in the place.

LIEUTENANT
Do I know him?

His sergeant doesn’t. His girlfriend doesn’t.

LIEUTENANT
Find out who he is.

The sergeant makes his way over to Schindler’s table.
There’s a handshake and introductions before - and the
lieutenant, watching, can’t believe it - his guy accepts the
chair Schindler’s dragging over.

The lieutenant waits, but his man doesn’t come back; he’s
forgotten already he went there for a reason. Finally, and
it irritates the SS man, he has to get up and go over there.

LIEUTENANT
Stay here.

His girlfriend watches him cross toward Schindler’s table.
Before he even arrives, Schindler is up and berating him for
leaving his date way over there across the room, waving at
the girl to come join them, motioning to waiter to slide some
tables together.

WAITERS ARRIVE WITH PLATES OF CAVIAR

and another round of drinks. The lieutenant makes a half-
hearted move for his wallet.

LIEUTENANT
Let me get this one.

SCHINDLER
No, put it away, put it away.
4.


Schindler’s already got his money out. Even as he’s paying,
his eyes are working the room, settling on a table where a
girl is declining the advances of two more high-ranking SS
men.

A TABLECLOTH BILLOWS

as a waiter lays it down on another table that’s been added
to the others. Schindler seats the SS officers on either
side of his own “date” -

SCHINDLER
What are you drinking, gin?

He motions to a waiter to refill the men’s drinks, and,
returning to the head of the table(s), sweeps the room again
with his eyes.

A ROAR OF LAUGHTER

erupts from Schindler’s party in the corner. Nobody’s having
a better time than those people over there. His guests have
swelled to ten or twelve - SS men, Polish cops, girls - and
he moves among them like the great entertainer he is, making
sure everybody’s got enough to eat and drink.

Here, closer, at this table across the room, an SS officer
gestures to one of the SS men who an hour ago couldn’t get
the girl to sit at his table. The guy comes over.

SS OFFICER 1
Who is that?

SS OFFICER 2
(like everyone knows)
That’s Oskar Schindler. He’s an old
friend of … I don’t know, somebody’s.

A GIRL WITH A BIG CAMERA

screws in a flashbulb. She lifts the unwieldy thing to her
face and focuses.
5.

As the bulb flashes, the noise of the club suddenly drops
out, and the moment is caught in BLACK and WHITE: Oskar
Schindler, surrounded by his many new friends, smiling
urbanely.
Genres: ["Drama","War"]

Summary In this scene, Oskar Schindler prepares himself in a run-down hotel room before going to a nightclub in Cracow, Poland. At the nightclub, he attracts the attention of a curious SS officer who sends his subordinate to find out who Schindler is. However, Schindler cleverly diverts their attention by inviting the officer and his girlfriend to join his table. They enjoy drinks and caviar together, and Schindler ensures everyone has a good time. The scene ends with a flashbulb capturing a moment of Schindler surrounded by his new friends, smiling urbanely.
Strengths
  • Engaging dialogue
  • Strong character introductions
  • Effective establishment of atmosphere
Weaknesses
  • Lack of strong emotional moments
  • Minimal character change

Ratings
Overall

Overall: 9

The scene effectively establishes the tone and atmosphere of the story, introduces the main character and his motivations, and sets up the conflict between different factions in the war.


Story Content

Concept: 8

The concept of a charismatic protagonist using his charm and wit to exploit the chaos of war is intriguing and engaging.

Plot: 8

The plot of the scene revolves around the protagonist infiltrating a group of powerful individuals and establishing himself as a respected figure among them.

Originality: 9

The level of originality in this scene is high. The unique situation of a nightclub during wartime, the juxtaposition of beauty and darkness, and the exploration of moral ambiguity and manipulation are fresh approaches to familiar themes. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 9

The characters in the scene are well-defined and their interactions reveal their motivations and personalities.

Character Changes: 6

There is minimal character change in the scene, as the protagonist remains consistent in his manipulative nature.

Internal Goal: 8

The protagonist's internal goal in this scene is to establish his reputation and gain influence among the SS officers and other influential individuals present in the nightclub. This reflects his deeper desire for power, control, and the ability to manipulate others for his own benefit.

External Goal: 7

The protagonist's external goal in this scene is to socialize and network with the influential individuals present in the nightclub. This reflects the immediate circumstances of war and the challenges he faces in navigating the complex social dynamics of the time.


Scene Elements

Conflict Level: 7

The conflict in the scene is primarily social and revolves around the protagonist's attempts to gain influence and power among the powerful individuals in the club.

Opposition: 7

The opposition in this scene is strong but not overwhelming. The protagonist faces challenges in navigating the social dynamics of the nightclub and gaining influence among the influential individuals present. The audience is unsure of how the protagonist will overcome these obstacles and achieve his goals.

High Stakes: 7

The stakes in the scene are relatively high, as the protagonist risks his own safety and reputation to gain influence and power.

Story Forward: 8

The scene moves the story forward by introducing the protagonist's plan and establishing the dynamics between different factions in the war.

Unpredictability: 7

This scene is unpredictable because it presents unexpected interactions and outcomes. The protagonist's manipulation and control over the SS officers and other influential individuals create a sense of uncertainty and intrigue. The audience is unsure of how the scene will unfold and what consequences the protagonist's actions will have.

Philosophical Conflict: 9

There is a philosophical conflict evident in this scene between the protagonist's manipulative and self-serving values and the values of morality, compassion, and empathy. This conflict challenges the protagonist's beliefs and worldview as he navigates the morally ambiguous world of war.


Audience Engagement

Emotional Impact: 6

The scene lacks strong emotional moments, focusing more on establishing the atmosphere and introducing the characters.

Dialogue: 8

The dialogue is sharp and engaging, with the protagonist displaying his wit and charm while interacting with other characters.

Engagement: 9

This scene is engaging because it introduces a complex protagonist, establishes the atmosphere and conflicts of the world, and creates intrigue through the protagonist's actions and interactions. The sharp dialogue, vivid descriptions, and tension-filled moments keep the audience invested in the scene.

Pacing: 8

The pacing of the scene contributes to its effectiveness by balancing moments of tension and reflection. The scene moves at a steady pace, allowing the audience to absorb the details and emotions of the moment. The rhythm of the scene enhances the atmosphere and engages the audience.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. The scene headings, action lines, and dialogue are properly formatted and organized. The use of capitalization and punctuation is consistent and appropriate. The formatting enhances the readability and clarity of the scene.

Structure: 8

The structure of this scene follows the expected format for its genre. It begins with a description of the world and the protagonist's internal goal, followed by the external goal and the introduction of the philosophical conflict. The scene then progresses with the protagonist's actions and interactions, leading to a climax and a moment of reflection. The structure effectively sets up the atmosphere, goals, and conflicts of the scene.


Critique
  • The scene is very descriptive and provides a clear image of the setting and characters, but it could benefit from more dialogue to make it feel less static.
  • The introduction of Oskar Schindler is well done, but the scene could delve deeper into his thoughts and motivations to make him more compelling.
  • The cabaret performer and the music are mentioned but not described or integrated into the scene in a meaningful way.
  • The scene could benefit from clearer stakes and conflict to drive the action forward and engage the reader.
Suggestions
  • Add more dialogue to the scene to make it feel more dynamic and give the characters a chance to interact and reveal more about themselves.
  • Develop Oskar Schindler's character further by exploring his thoughts, motivations, and emotions in more detail.
  • Describe the cabaret performer and the music in more detail, and consider integrating them more fully into the scene to add atmosphere and tension.
  • Establish clearer stakes and conflict for the scene, such as a specific goal for Schindler or a challenge he must overcome, to drive the action forward and engage the reader.



Scene 2 -  A Business Proposition
4. EXT. SQUARE - CRACOW - DAY 4.

A photograph of a face on a work card, BLACK and WHITE. A
typed name, black and white. A hand affixes a sticker to the
card and it saturates with COLOR, DEEP BLUE.

People in long lines, waiting. Others near idling trucks,
waiting. Others against sides of buildings, waiting. Clerks
with clipboards move through the crowds, calling out names.

CLERKS
Groder … Gemeinerowa … Libeskind …

5. INT. APARTMENT BUILDING - CRACOW - DAY 5.

The party pin in his lapel catches the light in the hallway.

SCHINDLER
Stern?

Behind Schindler, the door to another apartment closes
softly. A radio, somewhere, is suddenly silenced.

SCHINDLER
Are you Itzhak Stern?

At the door of this apartment, a man with the face and manner
of a Talmudic scholar, finally nods in resignation, like his
number has just come up.

STERN
I am.

Schindler offers a hand. Confused, Stern tentatively reaches
for it, and finds his own grasped firmly.
6.


6. INT. STERN’S APARTMENT - DAY 6.

Settled into an overstuffed chair in a simple apartment,
Schindler pours a shot of cognac from a flask.

SCHINDLER
There’s a company you did the books for
on Lipowa Street, made what, pots and
pans?

Stern stares at the cognac Schindler’s offering him. He
doesn’t know who this man is, or what he wants.

STERN
(pause)
By law, I have to tell you, sir, I’m a
Jew.

Schindler looks puzzled, then shrugs, dismissing it.

SCHINDLER
All right, you’ve done it - good company,
you think?

He keeps holding out the drink. Stern declines it with a
slow shake of his head.

STERN
It did all right. Schindler nods, takes
out a cigarette case.

SCHINDLER
I don’t know anything about enamelware,
do you?

He offers Stern a cigarette. Stern declines again.

STERN
I was just the accountant.
7.


SCHINDLER
Simple engineering, though, wouldn’t you
think? Change the machines around,
whatever you do, you could make other
things, couldn’t you?

Schindler lowers his voice as if there could possibly be
someone else listening in somewhere.

SCHINDLER
Field kits, mess kits …

He waits for a reaction, and misinterprets Stern’s silence
for a lack of understanding.

SCHINDLER
Army contracts.

But Stern does understand. He understands too well.
Schindler grins good-naturedly.

SCHINDLER
Once the war ends, forget it, but for now
it’s great, you could make a fortune.
Don’t you think?

STERN
(with an edge)
I think most people right now have other
priorities.

Schindler tries for a moment to imagine what they could
possibly be. He can’t.

SCHINDLER
Like what?

Stern smiles despite himself. The man’s manner is so simple,
so in contrast to his own and the complexities of being a Jew
in occupied Cracow in 1939. He really doesn’t know. Stern
decides to end the conversation.
8.


STERN
Get the contracts and I’m sure you’ll do
very well. In fact the worse things get
the better you’ll do. It was a
“pleasure.”

SCHINDLER
The contracts? That’s the easy part.
Finding the money to buy the company,
that’s hard.

He laughs loudly, uproariously. But then, just as abruptly
as the laugh erupted, he’s dead serious, all kidding aside -

SCHINDLER
You know anybody?

Stern stares at him curiously, sitting there taking another
sip of his cognac, placid as a large dog.

SCHINDLER
Jews, yeah. Investors.

STERN
(pause)
Jews can no longer own businesses, sir,
that’s why this one’s for sale.

SCHINDLER
Well, they wouldn’t own it, I’d own it.
I’d pay them back in product. They can
trade it on the black market, do whatever
they want, everybody’s happy.

He shrugs; it sounds more than fair to him. But not to
Stern.

STERN
Pots and pans.

SCHINDLER
(nodding)
Something they can hold in their hands.
9.


Stern studies him. This man is nothing more than a salesman
with a salesman’s pitch; just dressed better than most.

STERN
I don’t know anybody who’d be interested
in that.

SCHINDLER
(a slow knowing nod)
They should be.

Silence.
Genres: ["Drama","War"]

Summary In this scene, Oskar Schindler meets Itzhak Stern in Stern's apartment to discuss a potential business opportunity. Schindler offers Stern a drink and proposes buying a company that Stern did the books for. They talk about the potential to make other products and Schindler suggests using Jewish investors. However, Stern informs Schindler that Jews can no longer own businesses. Schindler proposes a plan where he would own the company and pay the investors back in product. Stern remains skeptical, and the scene ends with silence.
Strengths
  • Well-written dialogue
  • Intriguing plot development
  • Realistic character interactions
Weaknesses
  • Lack of strong emotional impact

Ratings
Overall

Overall: 9

The scene is well-written and engaging, providing important information about Schindler's intentions and introducing a significant plot point.


Story Content

Concept: 8

The concept of Schindler using Jewish investors to buy a company and trade products on the black market is intriguing and adds depth to the story.

Plot: 9

The plot progresses as Schindler discusses his plan with Itzhak Stern, setting up future events and conflicts.

Originality: 9

This scene demonstrates a level of originality through its portrayal of the protagonist's morally ambiguous motivations and the exploration of the clash between self-interest and moral responsibility. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 8

The characters of Oskar Schindler and Itzhak Stern are well-developed and their interactions reveal their personalities and motivations.

Character Changes: 6

There is a slight change in Schindler's character as he reveals his plan to Stern, showing his opportunistic nature.

Internal Goal: 8

The protagonist's internal goal in this scene is to find a way to profit from the war and secure his own financial success. This reflects his deeper desire for wealth, power, and self-preservation.

External Goal: 7

The protagonist's external goal in this scene is to convince Itzhak Stern to help him acquire a company and secure the necessary funds. This reflects the immediate circumstances of the war and the challenges of navigating the restrictions placed on Jews.


Scene Elements

Conflict Level: 7

There is a subtle conflict between Schindler's opportunistic plan and Stern's reservations about it.

Opposition: 7

The opposition in this scene is not particularly strong, as the conflict is primarily internal and the outcome is not uncertain. However, there is a small obstacle in the form of Itzhak Stern's initial reluctance to get involved.

High Stakes: 8

The stakes are high as Schindler plans to profit from the war and potentially save Jewish lives.

Story Forward: 9

The scene moves the story forward by introducing Schindler's plan and setting up future conflicts and events.

Unpredictability: 7

This scene is unpredictable because it presents a morally ambiguous protagonist whose motivations and actions are not immediately clear. The audience is left wondering how the protagonist's plans will unfold.

Philosophical Conflict: 9

The philosophical conflict evident in this scene is the clash between self-interest and moral responsibility. The protagonist's desire for profit and success conflicts with the ethical considerations of exploiting the war and the suffering of others.


Audience Engagement

Emotional Impact: 7

The scene evokes a sense of tension and uncertainty, but the emotional impact is not as strong as in other scenes.

Dialogue: 9

The dialogue is well-crafted and realistic, effectively conveying the characters' thoughts and intentions.

Engagement: 9

This scene is engaging because it introduces a morally complex protagonist, presents a conflict, and creates anticipation for what will happen next. The dialogue and interactions between the characters are compelling.

Pacing: 8

The pacing of this scene contributes to its effectiveness by creating a sense of tension and anticipation. The rhythm of the dialogue and the pauses in the conversation add to the overall impact.


Technical Aspect

Formatting: 9

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

Structure: 8

The structure of this scene follows the expected format for its genre by establishing the setting, introducing the characters, and presenting the conflict and goals. It effectively progresses the narrative.


Critique
  • The scene transitions are abrupt and could be clearer. The shift from Schindler's interaction with Stern to the nightclub setting feels jarring.
  • The tone of the scene is not consistently mysterious and tense as stated in the facts. It seems to be more of a conversation between two people discussing business opportunities.
  • The dialogue is lengthy and could benefit from some editing to make it more concise and engaging. There are also long pauses in the dialogue that might slow down the pacing.
  • The setting of the nightclub and the description of the clientele are not fully utilized in this scene. They could be used to create a more immersive atmosphere and to further develop the characters.
  • The conflict in this scene is not very strong. While there is a difference in priorities between Schindler and Stern, it does not create a significant obstacle for the characters to overcome.
Suggestions
  • Consider adding more descriptive language to help transition between scenes and settings. This can help create a better sense of continuity and flow.
  • Evaluate the dialogue and look for opportunities to make it more concise and engaging. This can help maintain the reader's interest and keep the pacing steady.
  • Utilize the nightclub setting and the diverse clientele to create a more immersive atmosphere. This can help set the tone and further develop the characters.
  • Consider introducing a stronger conflict in this scene. This can help drive the narrative forward and create more tension between the characters.



Scene 3 -  Black Market Deals and Shirt Measurements
7. EXT. CRACOW - NIGHT 7.

A mason trowels mortar onto a brick. As he taps it into a
place and scrapes off the excess cement, the image DRAINS OF
COLOR.

Under lights, a crew of brick-layers is erecting a ten-foot
wall where a street once ran unimpeded.

8. EXT. STREET - CRACOW - DAY 8.

A young man emerges from an alley pocketing his Jewish
armband. He crosses a street past German soldiers and trucks
and climbs the steps of St. Mary’s cathedral.

9. INT. ST. MARY’S CATHEDRAL - DAY 9.

A dark and cavernous place. A priest performing Mass to
scattered parishioners. Lots of empty pews.

The young Polish Jew from the street, Poldek Pfefferberg,
kneels, crosses himself, and slides in next to another young
man, Goldberg, going over notes scribbled on a little pad
inside a missal. Pfefferberg shows him a container of shoe
polish he takes from his pocket. Whispered, bored -

GOLDBERG
What’s that?
10.


PFEFFERBERG
You don’t recognize it? Maybe that’s
because it’s not what I asked for.

GOLDBERG
You asked for shoe polish.

PFEFFERBERG
My buyers sold it to a guy who sold it to
the Army. But by the time it got there -
because of the cold - it broke, the whole
truckload.

GOLDBERG
(pause)
So I’m responsible for the weather?

PFEFFERBERG
I asked for metal, you gave me glass.

GOLDBERG
This is not my problem.

PFEFFERBERG
Look it up.

Goldberg doesn’t bother; he pockets his little notepad and
intones a response to the priest’s prayer, all but ignoring
Pfefferberg.

PFEFFERBERG
This is not your problem? Everybody
wants to know who I got it from, and I’m
going to tell them.

Goldberg glances to Pfefferberg for the first time, and,
greatly put upon, takes out his little notepad again and
makes a notation in it.

GOLDBERG
Metal.
11.


He flips the pad closed, pockets it, crosses himself as he
gets up, and leaves.

10. INT. HOTEL - DAY 10.

Pfefferberg at the front desk of a sleepy hotel with another
black market middleman, the desk clerk. Both are wearing
their armbands. Pfefferberg underlines figures on a little
notepad of his own -

PFEFFERBERG
Let’s say this is what you give me. These
are fees I have to pay some guys. This is
my commission. This is what I bring you
back in Occupation currency.

The clerk, satisfied with the figures, is about to hand over
to Pfefferberg some outlawed Polish notes from an envelope
when Schindler comes in from the street. The clerk puts the
money away, gets Schindler his room key, waits for him to
leave so he can finish his business with Pfefferberg … but
Schindler doesn’t leave; he just keeps looking over at
Pfefferberg’s shirt, at the cuffs, the collar.

PFEFFERBERG
That’s a nice shirt.

Pfefferberg nods, Yeah, thanks, and waits for Schindler to
leave; but he doesn’t. Nor does he appear to hear the short
burst of muffled gunfire that erupts from somewhere up the
street.

SCHINDLER
You don’t know where I could find a shirt
like that.

Pfefferberg knows he should say ‘no,’ let that be the end of
it. It’s not wise doing business with a German who could
have you arrested for no reason whatsoever. But there’s
something guileless about it.

PFEFFERBERG
Like this?
12.


SCHINDLER
(nodding)
There’s nothing in the stores.

The clerk tries to discourage Pfefferberg from pursuing this
transaction with just a look. Pfefferberg ignores it.

PFEFFERBERG
You have any idea what a shirt like this
costs?

SCHINDLER
Nice things cost money.

The clerk tries to tell Pfefferberg again with a look that
this isn’t smart.

PFEFFERBERG
How many?

SCHINDLER
I don’t know, ten or twelve. That’s a
good color. Dark blues, grays.

Schindler takes out his money and begins peeling off bills,
waiting for Pfefferberg to nod when it’s enough. He’s being
overcharged, and he knows it, but Pfefferberg keeps pushing
it, more. The look Schindler gives him lets him know that
he’s trying to hustle a hustler, but that, in this instance
at least, he’ll let it go. He hands over the money and
Pfefferberg hands over his notepad.

PFEFFERBERG
Write down your measurements.

As he writes down the information, Pfefferberg glances to the
desk clerk and offers a shrug. As he writes -

SCHINDLER
I’m going to need some other things. As
things come up.
13.
Genres: ["Drama","Historical"]

Summary In this scene, a mason is seen troweling mortar onto a brick as a crew of brick-layers erects a wall. Meanwhile, a young man named Poldek Pfefferberg crosses a street and enters St. Mary's cathedral, where he discusses a broken shoe polish container with Goldberg. The scene then shifts to a hotel, where Pfefferberg negotiates fees and commissions with a desk clerk. Schindler enters the hotel and compliments Pfefferberg's shirt, leading to a conversation about purchasing shirts. Pfefferberg overcharges Schindler and takes his measurements for the shirts.
Strengths
  • Engaging dialogue
  • Realistic portrayal of historical context
  • Tense atmosphere
Weaknesses
  • Limited emotional impact
  • Lack of significant character development

Ratings
Overall

Overall: 8

The scene effectively portrays the tense atmosphere and the power dynamics between Schindler and Stern. The dialogue is engaging and reveals the obstacles faced by Jewish businessmen during the Nazi regime.


Story Content

Concept: 7

The concept of business negotiations in a historical context is well-executed. It sheds light on the challenges faced by Jewish businessmen and the strategies they employed to survive.

Plot: 7

The plot revolves around Schindler's attempt to buy a company and his discussion with Stern about potential business opportunities. It provides insight into Schindler's character and his willingness to help Jewish individuals.

Originality: 7

The level of originality in this scene is moderate. While the setting and context of World War II and the black market are familiar, the specific interactions and dialogue between the characters are unique and fresh. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 8

The characters of Oskar Schindler and Itzhak Stern are well-developed and their motivations are clear. Schindler is portrayed as a shrewd businessman with a hidden agenda, while Stern is cautious and resourceful.

Character Changes: 6

There is a subtle character change in Schindler as he shows empathy and willingness to help Stern. However, the change is not significant in this particular scene.

Internal Goal: 8

The protagonist's internal goal in this scene is to negotiate a deal for a shirt with Schindler. This reflects his desire to make money and survive in a difficult and dangerous environment.

External Goal: 7

The protagonist's external goal in this scene is to complete a transaction with the desk clerk and receive Occupation currency. This reflects the immediate circumstances of living under occupation and the need for money.


Scene Elements

Conflict Level: 7

The conflict in the scene arises from the power imbalance between Schindler and Stern, as well as the larger conflict of the Nazi occupation. The tension is palpable as they negotiate and navigate the restrictions imposed on Jewish businesses.

Opposition: 7

The opposition in this scene is strong, as the protagonist faces resistance and caution from the desk clerk and potential consequences for doing business with a German. The audience is unsure of how the negotiation will go and what risks the protagonist is taking.

High Stakes: 7

The stakes are moderately high as Schindler and Stern navigate the risks of conducting business under the Nazi regime. The outcome of their negotiations could have significant consequences for both of them.

Story Forward: 7

The scene moves the story forward by establishing Schindler's interest in buying a company and his potential involvement in helping Jewish individuals. It sets the stage for future plot developments.

Unpredictability: 7

This scene is unpredictable because it is unclear how the negotiation with Schindler will unfold and what the consequences of the protagonist's actions will be.

Philosophical Conflict: 6

There is a philosophical conflict evident in this scene between Pfefferberg's willingness to take risks and do business with a German, and the clerk's disapproval and caution. This challenges Pfefferberg's beliefs and values about survival and making money.


Audience Engagement

Emotional Impact: 6

The emotional impact of the scene is moderate. While it doesn't evoke strong emotions, it effectively conveys the challenges and risks faced by Jewish businessmen during the Nazi regime.

Dialogue: 9

The dialogue is engaging and reveals the power dynamics between Schindler and Stern. It effectively conveys the challenges faced by Jewish businessmen and their strategies to navigate the Nazi regime.

Engagement: 8

This scene is engaging because it introduces a conflict between the protagonist and the desk clerk, creates tension through the negotiation with Schindler, and raises questions about the protagonist's choices and motivations.

Pacing: 8

The pacing of the scene contributes to its effectiveness by maintaining a steady rhythm and building tension through the negotiation and the protagonist's interactions with the desk clerk and Schindler.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. It uses scene headings, action lines, and dialogue in a clear and organized manner.

Structure: 9

The structure of this scene follows the expected format for its genre. It begins with an establishing shot, introduces the protagonist, and progresses through a series of locations and interactions.


Critique
  • The scene transitions are well-executed, providing a clear sense of time and place.
  • The introduction of Poldek Pfefferberg and his character traits are well-established, providing a good contrast to Schindler.
  • The dialogue between Pfefferberg and Goldberg is engaging and provides insight into the challenges of the black market during this time.
  • The introduction of Schindler in this scene is well-timed and creates intrigue.
  • The tension between Pfefferberg and the hotel clerk regarding doing business with Schindler is well-executed and adds to the overall tension of the scene.
Suggestions
  • Consider adding more sensory details to the scene, such as sounds, smells, or tactile sensations, to make the setting more immersive.
  • Consider further developing the character of Goldberg, as he currently serves as more of a foil for Pfefferberg rather than a fully realized character.
  • Consider adding more subtext to the dialogue between Schindler and Pfefferberg to hint at their future relationship.
  • Consider adding more visual details to the scene, such as the appearance of the hotel clerk or the layout of the hotel lobby, to make the setting more vivid.
  • Consider adding more internal thoughts or emotions to Pfefferberg's character to create more tension and investment in the scene.



Scene 4 -  A Wedding Gift
11. EXT. GARDEN - SCHERNER’S RESIDENCE - CRACOW - DAY 11.

As Oberfuhrer Scherner and his daughter, in a wedding gown,
dance to the music of a quartet on a bandstand, the reception
guests drink and eat at tables set up on an expansive lawn.

CZURDA
The SS doesn’t own the trains, somebody’s
got to pay. Whether it’s a passenger car
or a livestock car, it doesn’t matter -
which, by the way, you have to see. You
have to set aside an afternoon, go down
to the station and see this.

Other SS and Army officers share the table with Czurda.
Schindler, too, nice blue shirt, jacket, only he doesn’t seem
to be paying attention; rather his attention and affections
are directed to the blonde next to him, Ingrid.

CZURDA
So you got thousands of fares that have
to be paid. Since it’s the SS that’s
reserved the trains, logically they
should pay. But this is a lot of money.
(pause)
The Jews. They’re the ones riding the
trains, they should pay. So you got Jews
paying their own fares to ride on cattle
cars to God knows where. They pay the SS
full fare, the SS turns around, pays the
railroad a reduced excursion fare, and
pockets the difference.

He shrugs, There you have it. Brilliant. He glances off,
sees something odd across the yard. Two horses, saddled-up,
being led into the garden by a stable boy.

SCHINDLER
(to Ingrid)
Excuse me.
14.


Schindler gets up from the table. Scherner, his wife and
daughter and son-in-law stare at the horses; they’re
beautiful.

Schindler appears, takes the reins from the stable boy, hands
one set to the bride and the other to the groom.

SCHINDLER
There’s nothing more sacred than
marriage. No happier an occasion than
one’s wedding day. I wish you all the
best.

Scherner hails a photographer. As the guy comes over with
his camera, so does just about everybody else. Scherner
insists Schindler pose with the astonished bride and groom.

Big smiles. Flash.

12. INT. STOREFRONT - CRACOW - DAY 12.

A neighborhood place. Bread, pastries, couple of tables. At
one sits owner and a well-dressed man in his seventies, Max
Redlicht.

OWNER
I go to the bank, I go in, they tell me
my account’s been placed in Trust. In
Trust? What are they talking about,
whose Trust? The Germans’. I look
around. Now I see that everybody’s
arguing, they can’t get to their money
either.

MAX REDLICHT
This is true?

OWNER
I’ll take you there.

Max looks at the man not without sympathy. He’s never heard
of such a thing. It’s really a bad deal. But then -
15.


MAX REDLICHT
Let me understand. The Nazis have taken
your money. So because they’ve done this
to you, you expect me to go unpaid.
That’s what you’re saying. The owner of
the place just stares at Redlicht.

MAX REDLICHT
That makes sense to you?

The man doesn’t answer. He watches Max get up and cross to
the front door where he says something to two of his guys and
leaves. The guys come in and start carting out anything of
any value: cash register, a chair, a loaf of bread …

13. EXT. CRACOW STREET - DAY 13.

Max strolls along the sidewalk, browsing in store windows.
People inside and out nod hello, but they despise him, they
fear him.

Just as he’s passing a synagogue, some men in long overcoats
cross the street. Einsatzgruppen, they are an elite and wild
bunch, one of six Special Chivalrous Duty squads assigned to
Cracow.

14. INT. STARAR BOZNICA SYNAGOGUE - SAME TIME - DAY 14.

The Sabbath prayers of a congregation of Orthodox Jews are
interrupted by a commotion at the rear of the ancient temple.
Several non-Orthodox Jews from the street, including Max
Redlicht, are being herded inside by the Einsatz Boys.

They’re made to stand before the Ark in two lines: Orthodox
and non. One of the Einsatzgruppen squad removes the
parchment Torah scroll while another calmly addresses the
assembly:

EINSATZ NCO
I want you to spit on it. I want you to
walk past, spit on it, and stand over
there.
16.


No one does anything for a moment. The liberals from the
street seem to say with their eyes, Come on, we’re all too
sophisticated for this; the others, with the beards and
sidelocks, silently check with their rabbi.

One by one then they file past and spit on the scroll. The
last two, the rabbi and Max Redlicht hesitate. They exchange
a glance. The rabbi finally does it; the gangster doesn’t.
after a long tense silence.

MAX REDLICHT
I haven’t been to temple must be fifty
years.
(to the rabbi)
Nor have I been invited.

The Einsatz NCO glances from Max to the rabbi and smiles to
himself. This is unexpected, this rift.

MAX REDLICHT
(to the rabbi)
You don’t approve of the way I make my
living? I’m a bad man, I do bad things?

Max admits it with a shrug.

MAX REDLICHT
I’ve done some things … but I won’t do
this.

Silence. The Einsatz NCO glances away to the others, amused.

EINSATZ NCO
What does this mean? Of all of you,
there’s only one who has the guts to say
no? One? And he doesn’t even believe?
(no one, of course answer him)
I come in here, I ask you to do something
no one should ever ask. And you do it?
(pause)
What won’t you do?

Nobody answers. He turns to Max.
17.


EINSATZ NCO
You, sir, I respect.

He pulls out a revolver and shoots the old gangster in the
head. He’s dead before he hits the floor.

EINSATZ NCO
The rest of you …
… are beneath his contempt.

He turns and walks away. The other Einsatz Boys pull rifles
and revolvers from their coats and open fire.
Genres: ["Drama","War"]

Summary In this scene, Oberfuhrer Scherner and his daughter dance at a wedding reception while guests eat and drink. Czurda explains how the SS profits from Jewish train fares, creating tension. Schindler, focused on Ingrid, interrupts his conversation to present two horses as a wedding gift. The scene ends with a photograph being taken of Schindler with the bride and groom.
Strengths
  • Effective contrast between joy and violence
  • Powerful emotional impact
  • Highlighting the escalating conflict of the war
Weaknesses
  • Lack of depth in some character perspectives
  • Dialogue could be more complex

Ratings
Overall

Overall: 9

The scene effectively conveys the tension and tragedy of the war through its contrasting elements and the shocking act of violence in the synagogue. The emotional impact is high, and the scene moves the story forward by showing the increasing persecution of Jews.


Story Content

Concept: 8

The concept of contrasting a wedding celebration with a violent act in a synagogue is powerful and effectively highlights the themes of the film. The importance of this concept in the scene is high.

Plot: 7

The plot of the scene focuses on the juxtaposition of the wedding and the violence in the synagogue, effectively conveying the escalating conflict of the war. However, the plot could be further developed to provide more context and depth.

Originality: 9

This scene demonstrates a level of originality through its portrayal of the protagonist's internal and external goals, the philosophical conflict, and the juxtaposition of light and dark elements. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 8

The characters in the scene, particularly Max Redlicht and the Einsatz NCO, are well-developed and their actions and dialogue contribute to the tension and tragedy of the scene. However, there could be more exploration of the other characters' perspectives.

Character Changes: 7

The character of Max Redlicht undergoes a change in the scene, from initially hesitating to spit on the Torah scroll to ultimately refusing to do so and being killed for it. This change highlights his moral conflict and defiance.

Internal Goal: 8

The protagonist's internal goal in this scene is to maintain a facade of disinterest and distraction while secretly observing the odd occurrence with the horses. This reflects his deeper desire to protect and save Jewish lives, as he suspects that the horses may be used to transport Jews to safety.

External Goal: 7

The protagonist's external goal in this scene is to divert attention away from the odd occurrence with the horses and maintain his reputation and social standing among the SS and Army officers.


Scene Elements

Conflict Level: 9

The conflict in the scene is high, with the tension between the characters and the shocking act of violence in the synagogue. The conflict drives the emotional impact of the scene.

Opposition: 9

The opposition in this scene is strong, as the protagonist faces challenges from the SS and Army officers, the philosophical conflict, and the unpredictable events with the horses and in the synagogue. The audience is unsure of how the protagonist will navigate these obstacles.

High Stakes: 9

The stakes in the scene are high, with the characters facing the threat of violence and persecution. The act of violence in the synagogue raises the stakes even further.

Story Forward: 8

The scene moves the story forward by showing the increasing persecution of Jews and the escalating conflict of the war. It also introduces the character of Max Redlicht and his defiance.

Unpredictability: 8

This scene is unpredictable because it introduces unexpected elements, such as the odd occurrence with the horses and the confrontation in the synagogue. These events challenge the audience's expectations and create suspense.

Philosophical Conflict: 9

The philosophical conflict evident in this scene is the protagonist's belief in the value of human life and his opposition to the dehumanization and mistreatment of Jews by the Nazis. This challenges the beliefs and values of the SS and Army officers, who are complicit in the persecution of Jews.


Audience Engagement

Emotional Impact: 10

The scene has a high emotional impact, evoking sadness, shock, and horror through the contrast between the wedding celebration and the violence in the synagogue.

Dialogue: 7

The dialogue in the scene effectively conveys the tension and conflict between the characters, particularly in the interaction between Max Redlicht and the Einsatz NCO. However, there could be more depth and complexity in the dialogue.

Engagement: 9

This scene is engaging because it presents a contrast between the joyous wedding celebration and the dark reality of the war. The dialogue and actions of the characters create tension and intrigue, keeping the audience invested in the story.

Pacing: 8

The pacing of this scene contributes to its effectiveness by balancing moments of tension and suspense with moments of lighter tone and celebration. It keeps the audience engaged and interested in the unfolding events.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. It is properly formatted with scene headings, action lines, and dialogue.

Structure: 8

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


Critique
  • The scene transitions are abrupt and could benefit from more clear transitions or connections between the different settings and storylines.
  • The dialogue in the Scherner's residence garden is lengthy and exposition-heavy, which can slow down the pacing and engagement of the scene.
  • The introduction of Max Redlicht and his storyline is disconnected from the previous scene and could benefit from a more clear setup or connection to the main story.
  • The Einsatzgruppen scene is powerful, but its connection to the rest of the scene and story is not immediately clear and could benefit from more context or setup.
Suggestions
  • Consider adding more visual or action-based elements to the Scherner's residence garden scene to break up the dialogue and add more tension or interest.
  • Try to condense or break up the exposition-heavy dialogue in the Scherner's residence garden scene to improve the pacing and engagement.
  • Establish Max Redlicht's character and storyline earlier or in a more connected way to the previous scene to help the reader better understand his role and importance.
  • Add more context or setup to the Einsatzgruppen scene to help the reader better understand its connection to the rest of the story and characters.



Scene 5 -  Forced Exodus and Negotiations
15. EXT. CRACOW - DAY 15.

In BLACK AND WHITE and absolute silence, a suitcase thrown
from a second story window arcs slowly through the air. As
it hits the pavement, spilling open - SOUND ON - and,
returning to COLOR -

Thousands of families pushing barrows through the streets of
Kazimierz, dragging mattresses over the bridge at Podgorze,
carrying kettles and fur coats and children on a mass forced
exodus into the ghetto.

Crowds of Poles line the sidewalks like spectators on a
parade route. Some wave. Some take it more soberly, as if
sensing they may be next.

POLISH GIRL
Goodbye, Jews.

16. EXT. GHETTO GATE - DAY 16.

The little folding tables have been dragged out and set up
again, and at them sit the clerks.

Goldberg, of all people, has somehow managed to elevate
himself to a station of some authority. Armed with something
more frightening than a gun - a clipboard - he abets the
Gestapo in their task of deciding who passes through the
ghetto gate and who detours to the train station.
18.


PFEFFERBERG
What’s this?

Pfefferberg, with his wife Mila, at the head of a line that
seems to stretch back forever, flicks at Goldberg’s OD
armband with disgust.

GOLDBERG
Ghetto Police. I’m a policeman now, can
you believe it?

PFEFFERBERG
Yeah, I can.

They consider each other for a long moment before Pfefferberg
leads his wife past Goldberg and into the ghetto.

17. INT. APARTMENT BUILDING, GHETTO - NIGHT 17.

Dismayed by each others’ close proximity, Orthodox and
liberal Jews wait to use the floor’s single bathroom.

18. INT. GHETTO APARTMENT - NIGHT 18.

From the next apartment comes the liturgical solo of a
cantor. In this apartment, looking like they can’t bear much
more of it, sit some non-Orthodox businessmen, Stern and
Schindler.

SCHINDLER
For each thousand you invest, you take
from the loading dock five hundred kilos
of product a month - to begin in July and
to continue for one year - after which
time, we’re even.
(he shrugs)
That’s it.

He lets them think about it, pours a shot of cognac from his
flask, offers it to Stern, who brought this group together
and now sits at Schindler’s side. The accountant declines.
19.


INVESTOR 1
Not good enough.

SCHINDLER
Not good enough? Look where you’re
living. Look where you’ve been put. “Not
good enough.”
(he almost laughs at
the squalor)
A couple of months ago, you’d be right.
Not anymore.

INVESTOR 1
Money’s still money.

SCHINDLER
No, it isn’t, that’s why we’re here.

Schindler lights a cigarette and waits for their answer. It
doesn’t come. Just a silence. Which irritates him.

SCHINDLER
Did I call this meeting? You told Mr.
Stern you wanted to speak to me. I’m
here. Now you want to negotiate? The
offer’s withdrawn.

He caps his flask, pockets it, reaches for his top coat.

INVESTOR 2
How do we know you’ll do what you say?

SCHINDLER
Because I said I would. What do you
want, a contract? To be filed where?
(he slips into his coat)
I said what I’ll do, that’s our contract.

The investors study him. This is not a manageable German.
Whether he’s honest or not is impossible to say. Their
glances to Stern don’t help them; he doesn’t know either.
20.


The silence in the room is filled by the muffled singing next
door. One of the men eventually nods, He’s in. Then
another. And another.
Genres: ["Drama","Historical"]

Summary In this scene, a suitcase is thrown out of a window, revealing families on a forced exodus into the ghetto. Goldberg assists the Gestapo in deciding who enters the ghetto, while Pfefferberg confronts him about his new role. The scene then shifts to an apartment building in the ghetto, where Orthodox and liberal Jews wait for the single bathroom. In another apartment, Schindler negotiates a business deal with some businessmen. The conflicts arise when Pfefferberg questions Goldberg and when the businessmen doubt Schindler's trustworthiness, but both are resolved. The emotional tone is tense and somber, reflecting the situation. The scene ends with the businessmen agreeing to Schindler's offer.
Strengths
  • Effective portrayal of the dire situation of Jews in the ghetto
  • Compelling concept of using business to save lives
  • Strong dialogue and character dynamics
Weaknesses
  • Limited character development in this specific scene

Ratings
Overall

Overall: 8

The scene effectively conveys the gravity of the situation and introduces a glimmer of hope through Schindler's proposal. The dialogue is impactful and the conflict between the investors and Schindler adds tension.


Story Content

Concept: 7

The concept of Schindler offering a business opportunity to save Jews is compelling and sets up the central theme of the film.

Plot: 8

The plot progresses as Schindler presents his offer to the investors and faces their skepticism. The conflict and potential resolution drive the scene forward.

Originality: 9

This scene demonstrates a level of originality through its portrayal of the historical context of World War II and the Holocaust. The authenticity of the characters' actions and dialogue adds to the originality, as it presents a fresh perspective on the challenges faced by individuals during this time.


Character Development

Characters: 9

The characters are well-developed and their motivations are clear. Schindler's determination and the investors' desperation create engaging dynamics.

Character Changes: 7

While there is not significant character change in this scene, it sets up the potential for Schindler's transformation from a profit-driven businessman to a savior.

Internal Goal: 8

The protagonist's internal goal in this scene is to negotiate a business deal with the investors. This reflects his desire to make money and improve his own situation amidst the chaos and suffering of the war.

External Goal: 7

The protagonist's external goal in this scene is to convince the investors to invest in his business. This reflects the immediate challenge of finding financial support for his venture.


Scene Elements

Conflict Level: 8

The conflict between Schindler and the investors adds tension to the scene and raises the stakes.

Opposition: 8

The opposition in this scene is strong, as the investors challenge the protagonist's proposal and express their doubts. The audience is unsure of how the protagonist will overcome this opposition, adding to the tension and conflict.

High Stakes: 8

The stakes are high as the investors' lives and the fate of the Jews in the ghetto hang in the balance.

Story Forward: 8

The scene moves the story forward by introducing Schindler's plan and the potential for saving Jews through his business.

Unpredictability: 7

This scene is unpredictable because the outcome of the negotiation between the protagonist and the investors is uncertain. The audience does not know how the investors will respond to the protagonist's proposal, adding suspense and intrigue to the scene.

Philosophical Conflict: 7

There is a philosophical conflict evident in this scene between the protagonist's belief in the power of money and the investors' skepticism and concern for their own well-being. This challenges the protagonist's values and worldview, as he must convince them that his business proposal is worth the risk.


Audience Engagement

Emotional Impact: 8

The scene evokes a mix of sadness and hope, as the dire situation of the Jews is contrasted with the potential for salvation through Schindler's plan.

Dialogue: 8

The dialogue is impactful and reveals the characters' personalities and motivations. Schindler's persuasive speech and the investors' skepticism create tension.

Engagement: 9

This scene is engaging because it presents a high-stakes situation and conflict that captures the audience's attention. The dialogue and actions of the characters create tension and suspense, making the audience invested in the outcome.

Pacing: 8

The pacing of the scene contributes to its effectiveness by gradually building tension and suspense. The dialogue and actions are paced in a way that keeps the audience engaged and interested in the outcome.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. It uses proper scene headings, action lines, and dialogue formatting to clearly convey the events and dialogue.

Structure: 8

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


Critique
  • The scene transitions are abrupt and could benefit from more fluid transitions.
  • The introduction of new characters could be smoother, with more context provided.
  • The dialogue in the ghetto apartment scene could be more natural and less exposition-heavy.
  • The emotional impact of the scene could be heightened by focusing on a few key characters and their experiences.
  • The significance of Schindler's offer to the investors could be made clearer, with more stakes established.
Suggestions
  • Consider adding a few lines of description or action to smooth out the transitions between scenes.
  • Provide more context for new characters when they are introduced, to help the reader understand their significance.
  • Revise the dialogue in the ghetto apartment scene to make it feel more natural and spontaneous, rather than simply serving to convey information.
  • Focus on a few key characters and their experiences to heighten the emotional impact of the scene, rather than trying to cover too much ground.
  • Establish more clearly what is at stake for the investors in Schindler's offer, to help the reader understand the significance of the decision they are facing.



Scene 6 -  Schindler's Dilemma
19. INT. FACTORY FLOOR - DAY 19.

A red power button is pushed, starting the motor of a huge
metal press. The machine whirs, louder, louder.

20. INT. UPSTAIRS OFFICE - SAME TIME - DAY 20.

Schindler, at a wall of a windows, is peering down at the
lone technician making adjustments to the machine.

STERN
The standard SS rate for Jewish skilled
labor is seven Marks a day, five for
unskilled and women. This is what you
pay the Economic Office, the laborers
themselves receive nothing. Poles you
pay wages. Generally, they get a little
more. Are you listening?

Schindler turns from the wall of glass to face his new
accountant.

SCHINDLER
What was that about the SS, the rate,
the … ?

STERN
The Jewish worker’s salary, you pay it
directly to the SS, not to the worker. He
gets nothing.

SCHINDLER
But it’s less. It’s less than what I
would pay a Pole. That’s the point I’m
trying to make. Poles cost more.

Stern hesitates, then nods. The look on Schindler’s face
says, Well, what’s to debate, the answer’s clear to any fool.
21.


SCHINDLER
Why should I hire Poles?

21. INT. FACTORY FLOOR - DAY 21.

Another machine starting up, growling louder, louder -

22. EXT. PEACE SQUARE, THE GHETTO - DAY 22.

To a yellow identity card with a sepia photograph a German
clerk attaches a blue sticker, the holy Blauschein, proof
that the carrier is an essential worker. At other folding
tables other clerks pass summary judgment on hundreds of
ghetto dwellers standing in long lines.

TEACHER
I’m a teacher.

The man tries to hand over documentation supporting the claim
along with his Kennkarte to a German clerk.

CLERK
Not essential work, stand over there.

Over there, other “non-essential people” are climbing onto
trucks bound for unknown destinations. The teacher
reluctantly relinquishes his place in line.

23. EXT. PEACE SQUARE - LATER - DAY 23.

The teacher at the head of the line again, but this time with
Stern at his side.

TEACHER
I’m a metal polisher.

He hands over a piece of paper. The clerk takes a look, is
satisfied with it, brushes glue on the back of a Blauschein
and sticks it to the man’s work card.

CLERK
Good.
22.


The world’s gone mad.

24. INT. FACTORY FLOOR - DAY 24.

Another machine starting up, a lathe. A technician points
things out to the teacher and some others recruited by Stern.
The motor grinds louder, louder.

25. INT. APARTMENT - DAY 25.

Schindler wanders around a large empty apartment. There’s
lots of light, glass bricks, modern lines, windows looking
out on a park.

26. INT. THE APARTMENT - NIGHT 26.

The same place full of furniture and people. Lots of SS in
uniform. Wine. Girls. Schindler, drinking with Oberfuhrer
Scherner, keeps glancing across the room to a particularly
good-looking Polish girl with another guy in uniform.

SCHERNER
I’d never ask you for money, you know
that. I don’t even like talking about it -
money, favors - I find it very awkward,
it makes me very uncomfortable -

SCHINDLER
No, look. It’s the others. They’re the
ones causing these delays.

SCHERNER
What others?

SCHINDLER
Whoever. They’re the ones. They’d
appreciate some kind of gesture from me.

Scherner thinks he understands what Schindler’s saying. Just
in case he doesn’t -
23.


SCHINDLER
I should send it to you, though, don’t
you think? You can forward it on? I’d be
grateful.

Scherner nods. Yes, they understand each other.

SCHERNER
That’d be fine.

SCHINDLER
Done. Let's not talk about it anymore,
let’s have a good time.
Genres: ["Drama","Historical"]

Summary In this scene, Schindler learns that the SS rate for Jewish skilled labor is lower than what he would pay a Pole. He questions why he should hire Poles if they cost more. Meanwhile, a teacher is denied essential worker status but later obtains it with Stern's help. The scene also shows machines starting up in the factory, Schindler in an empty apartment, and later the same apartment filled with SS officers and a Polish girl. The conflict arises when Schindler realizes the payment system for Jewish workers and expresses his preference for hiring Poles. The teacher's conflict is resolved when Stern helps him obtain essential worker status. The scene ends with Schindler and Scherner agreeing on a gesture and deciding not to discuss it further.
Strengths
  • Effective contrast between Schindler's lifestyle and the ghetto
  • Compelling character development for Schindler
  • Revealing dialogue about the SS's exploitation
Weaknesses
  • Limited external conflict

Ratings
Overall

Overall: 8

The scene effectively portrays the stark contrast between the opulence of Schindler's life and the suffering of the Jewish people. It also provides important information about the SS's exploitation of Jewish labor.


Story Content

Concept: 7

The concept of contrasting the lives of Schindler and the Jewish people in the ghetto is well-executed. It sheds light on the historical context and the challenges faced by the characters.

Plot: 7

The plot in this scene focuses on Schindler's realization of the exploitative nature of the SS and his growing concern for the Jewish workers. It sets up the conflict and motivations for Schindler's future actions.

Originality: 9

This scene demonstrates a high level of originality through its portrayal of the protagonist's internal struggles and the ethical conflicts of the time. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 8

The characters in this scene are well-developed and their actions and dialogue reveal their personalities and motivations. Schindler's growing empathy and concern for the Jewish workers is particularly compelling.

Character Changes: 8

Schindler undergoes a significant character change in this scene as he starts to question the SS's treatment of Jewish workers and shows empathy towards them. This sets up his transformation throughout the film.

Internal Goal: 8

The protagonist's internal goal in this scene is to understand the difference in wages between Jewish and Polish workers. It reflects his desire to find a way to exploit the system for his benefit.

External Goal: 7

The protagonist's external goal in this scene is to hire workers for his factory. It reflects the immediate challenge of finding skilled laborers in a discriminatory environment.


Scene Elements

Conflict Level: 6

The conflict in this scene is primarily internal, as Schindler grapples with his growing concern for the Jewish workers and his realization of the SS's exploitation. There is also some external conflict between the Jewish people and the SS.

Opposition: 8

The opposition in this scene is strong, as the protagonist faces challenges and conflicts from the discriminatory system and the ethical dilemmas he encounters.

High Stakes: 6

The stakes in this scene are primarily emotional and moral. The Jewish people face the threat of further oppression and exploitation, while Schindler's actions have the potential to make a significant impact on their lives.

Story Forward: 7

The scene moves the story forward by establishing Schindler's growing concern for the Jewish workers and his potential for taking action. It also provides important information about the SS's exploitation of Jewish labor.

Unpredictability: 7

This scene is unpredictable because it introduces unexpected challenges and conflicts for the protagonist, keeping the audience guessing about the outcome.

Philosophical Conflict: 9

Yes, there is a philosophical conflict evident in this scene. The conflict is between the protagonist's belief in exploiting the system for personal gain and the ethical dilemma of benefiting from the oppression of others.


Audience Engagement

Emotional Impact: 7

The scene evokes empathy and concern for the Jewish people in the ghetto and creates tension as Schindler becomes more aware of their suffering. It also elicits admiration for Schindler's growing empathy and potential for action.

Dialogue: 7

The dialogue effectively conveys important information about the SS's exploitation of Jewish labor and Schindler's growing realization of the injustice. It also reveals the personalities and motivations of the characters.

Engagement: 9

This scene is engaging because it presents a moral dilemma and conflict that captures the audience's attention and makes them invested in the protagonist's journey.

Pacing: 8

The pacing of the scene contributes to its effectiveness by creating a sense of urgency and tension, especially during the dialogue exchanges.


Technical Aspect

Formatting: 9

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

Structure: 8

The structure of this scene follows the expected format for its genre by effectively transitioning between different locations and characters.


Critique
  • The scene transitions are abrupt and could benefit from more clear delineations between the different locations and actions.
  • The dialogue between Schindler and Stern about the cost of labor is important, but could be more impactful with higher stakes or more emotion.
  • The scene at the ghetto with the teacher and Stern is powerful, but its connection to the rest of the scene is not immediately clear.
  • The party scene with Schindler and Scherner could be more impactful if it directly tied into the rest of the scene or furthered the plot.
  • The dialogue in the party scene is somewhat aimless and could benefit from a clearer purpose or conflict.
Suggestions
  • Consider adding more context or emotion to the conversation between Schindler and Stern to heighten the stakes and engage the reader.
  • Try to find a way to more seamlessly connect the different locations and actions in the scene to improve the flow and pacing.
  • Consider adding a clearer conflict or purpose to the party scene to make it more engaging and relevant to the overall story.
  • Think about how the different elements of the scene could more directly tie together to create a more cohesive and impactful narrative.
  • Explore ways to make the dialogue more purposeful and engaging for the reader, such as by adding subtext or tension.



Scene 7 -  Schindler's Business and Personal Interactions
27. INT. SS OFFICE - DAY 27.

Scherner at his desk initialing several Armaments contracts.
The letters D.E.F. appear on all of them.

28. EXT. FACTORY - DAY 28.

Men and pulleys hoist a big “F” up the side of the building.
Down below, Schindler watches as the letter is set into place
- D.E.F.

29. INT. FACTORY OFFICES - DAY 29.

The good-looking Polish girl from the party, Klonowska, is
shown to her desk by Stern. It’s right outside Schindler’s
office. This girl has never typed in her life.

30. INT. FACTORY FLOOR - DAY 30.

Flames ignite with a whoosh in one of the huge furnaces. The
needle on a gauge slowly climbs.

31. EXT. CRACOW - DAY 31.

A garage door slides open revealing a gleaming black
Mercedes. Schindler steps past Pfefferberg and, moving
around the car, carefully touches its smooth lines.
24.


32. INT. FACTORY - DAY 32.

Another machine starts up. Another. Another.

33. EXT. PEACE SQUARE - DAY 33.

Stern with a woman at the head of a line. The clerk affixes
the all-important blue sticker to her work card.

34. INT. FACTORY DAY - DAY 34.

Three hundred Jewish laborers, men and women, work at the
long tables, at the presses, the latches, the furnaces,
turning out field kitchenware and mess kits.

Few glance up from their work at Schindler, the big gold
party pin stuck into his lapel, as he moves through the
place, his place, his factory, in full operation.

He climbs the stairs to the offices where several secretaries
process Armaments orders. He gestures to Stern, at a desk
covered with ledgers, to join him in his office.

35. INT. SCHINDLER’S OFFICE - CONTINUOUS - DAY 35.

The accountant follows Schindler into the office.

SCHINDLER
Sit down.

Schindler goes to the wall of windows, his favorite place in
the world, and looks down at all the activity below. He
pours two drinks from a decanter and, turning back, holds one
out to Stern. Stern, of course, declines. Schinder groans.

SCHINDLER
Oh, come on.

He comes over and puts the drink in Stern’s hand, moves
behind his desk and sits.
25.


SCHINDLER
My father was fond of saying you need
three things in life. A good doctor, a
forgiving priest and a clever accountant.
The first two …

He dismisses them with a shrug; he’s never had much use for
either. But the third - he raises his glass to the
accountant. Stern’s glass stays in his lap.

SCHINDLER
(long sufferingly)
Just pretend for Christ’s sake.

Stern slowly raises his glass.

SCHINDLER
Thank you.

Schindler drinks; Stern doesn’t.

36. INT. SCHINDLER’S APARMENT - MORNING 36.

Klonowska, wearing a man’s silk robe, traipses past the
remains of a party to the front door. Opening it reveals a
nice looking, nicely dressed woman.

KLONOWSKA
Yes?

A series of realizations is made by each of them, quickly,
silently, ending up with Klonowska looking ill.

SCHINDLER (O.S.)
Who is it?

37. INT. SCHINDLER’S APARTMENT - MORNING 37.

Schindler sets a cup of coffee down in front of his wife.
Behind him, through a doorway, Klonowska can be seen
hurriedly gathering her things.
26.


SCHINDLER
She’s so embarrassed - look at her -

Emilie begrudges him a glance to the bedroom, catching the
girl just as she looks up - embarrassed.

SCHINDLER
You know what, you’d like her.

EMILIE
Oskar, please -

SCHINDLER
What -

EMILIE
I don’t have to like her just because you
do. It doesn’t work that way.

SCHINDLER
You would, though. That’s what I’m
saying.

His face is complete innocence. It’s the first thing she
fell in love with; and perhaps the thing that keeps her from
killing him now. Klonowska emerges from the bedroom
thoroughly self-conscious.

KLONOWSKA
Goodbye. It was a pleasure meeting you.

She shakes Emilie’s limp hand. Schindler sees her to the
door, lets her out and returns to the table, smiling to
himself. Emilie’s glancing around at the place.

EMILIE
You’ve done well here.

He nods; he’s proud of it. He studies her.

SCHINDLER
You look great.
27.
Genres: ["Drama","Historical"]

Summary In this scene, Schindler is seen signing Armaments contracts in his office while a big 'F' is hoisted up the building outside. Klonowska, a Polish girl, is introduced to her desk outside Schindler's office. On the factory floor, flames ignite in a furnace and machines start up. In Cracow, Schindler's black Mercedes is revealed as a garage door opens. Stern affixes blue stickers to work cards in Peace Square. Inside the factory, Jewish laborers work on producing kitchenware. Schindler invites Stern into his office for a conversation and pours drinks for both of them. The scene then cuts to Schindler's apartment where Klonowska is seen leaving in a hurry. Schindler serves coffee to his wife, Emilie, and they briefly discuss Klonowska.
Strengths
  • Effective portrayal of the factory's operation
  • Insight into Schindler's character and relationships
  • Setting up potential conflicts and character changes
Weaknesses
  • Relatively low emotional impact
  • Low stakes

Ratings
Overall

Overall: 9

The scene effectively portrays the success and operation of Schindler's factory, creating a sense of pride and accomplishment. The dialogue between Schindler and Stern reveals their dynamic and Schindler's personality. The scene also sets up potential conflicts and character changes.


Story Content

Concept: 8

The concept of showcasing the operation of Schindler's factory and the contrast between the factory floor and Schindler's office is well-executed. It provides insight into Schindler's character and his relationship with Stern.

Plot: 7

The plot in this scene focuses on the success and operation of Schindler's factory. It sets up potential conflicts and character changes, but the main focus is on showcasing the factory's operation.

Originality: 6

The level of originality in this scene is moderate. While the setting and context of World War II and a factory are familiar, the specific characters and their interactions provide a fresh perspective. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 8

The scene effectively portrays Schindler's personality and his relationship with Stern. It also introduces Emilie, Schindler's wife, and hints at potential conflicts and character changes.

Character Changes: 6

There are hints of potential character changes in this scene, such as Emilie's discomfort and Schindler's pride in his factory. However, the changes are not fully developed in this particular scene.

Internal Goal: 8

The protagonist's internal goal in this scene is to maintain control and success in his business. This reflects his deeper need for power, recognition, and financial security.

External Goal: 7

The protagonist's external goal in this scene is to discuss business matters with his accountant, Stern. This reflects the immediate circumstances of running the factory and ensuring its profitability.


Scene Elements

Conflict Level: 6

The conflict in this scene is relatively low, as the focus is on showcasing the factory's operation. However, potential conflicts are set up, such as the difference in payment for Jewish skilled labor and the introduction of Emilie's discomfort with Klonowska.

Opposition: 7

The opposition in this scene is moderate. While there are no major obstacles, the tension between the protagonist and his wife adds a layer of opposition and uncertainty.

High Stakes: 5

The stakes in this scene are relatively low, as the focus is more on showcasing the factory's operation. However, potential conflicts and character changes set up in this scene may raise the stakes in future scenes.

Story Forward: 8

The scene moves the story forward by showcasing the success and operation of Schindler's factory. It also sets up potential conflicts and character changes that may impact the story later on.

Unpredictability: 6

This scene is unpredictable because it introduces a new character, Klonowska, and her interaction with the protagonist's wife adds a layer of uncertainty to the story.

Philosophical Conflict: 0

There is no evident philosophical conflict in this scene.


Audience Engagement

Emotional Impact: 6

The emotional impact of the scene is relatively low, as the focus is more on showcasing the factory's operation. However, there are hints of potential emotional moments, such as Emilie's discomfort and the contrast between the bustling factory floor and the calmness of Schindler's office.

Dialogue: 7

The dialogue between Schindler and Stern reveals their dynamic and provides insight into Schindler's personality. It is well-written and serves the purpose of the scene.

Engagement: 7

This scene is engaging because it provides insight into the protagonist's character and his relationships with other characters. The dialogue and actions create tension and intrigue.

Pacing: 8

The pacing of the scene is effective in building tension and maintaining the reader's interest. The rhythm of the dialogue and the visual descriptions contribute to its effectiveness.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. It includes proper indentation, scene numbers, and character names.

Structure: 8

The structure of this scene follows the expected format for its genre. It includes clear scene headings, concise action lines, and dialogue.


Critique
  • The scene does an excellent job of showcasing Schindler's growing attachment to his factory and the Jewish workers, as well as his complex relationship with Stern.
  • The introduction of Klonowska, the Polish girl from the party, adds an interesting dynamic to Schindler's personal life, but her sudden appearance in his apartment in the following scene may feel abrupt and confusing to some readers.
  • The scene could benefit from a clearer transition between Schindler's conversation with Stern and his encounter with Klonowska in his apartment. This could be achieved through the use of more explicit spatial or temporal markers.
Suggestions
  • Consider adding a brief line or two that hints at Schindler's growing attachment to his factory and the Jewish workers, as this will help to contextualize his actions and decisions later in the story.
  • Consider clarifying the relationship between Schindler and Klonowska, as well as her role in the story, to avoid confusing readers.
  • Consider adding a brief transition between Schindler's conversation with Stern and his encounter with Klonowska in his apartment, to help readers follow the narrative more easily.



Scene 8 -  A Night Out and Uncertain Goodbyes
38. EXT. SCHINDLER’S APARTMENT BUILDING - NIGHT 38.

They emerge from the building in formal clothes, both of them
looking great. It’s wet and slick; the doorman offers
Emilie his arm.

DOORMAN
Careful of the pavement -

SCHINDLER
- Mrs. Schindler.

The doorman shoots a glance to Schindler that asks, clearly,
Really? Schindler opens the passenger door of the Mercedes
for his wife, and the doorman helps her in.

39. INT. RESTAURANT - NIGHT 39.

A nice place. “No Jews or Dogs Allowed.” The maitre ‘d
welcomes the couple warmly, shakes Schindler’s hand. Nodding
to his date -

SCHINDLER
Mrs. Schindler.

The maitre ‘d tries to bury his surprise. He’s almost
successful.

40. INT. RESTAURANT - LATER - NIGHT 40.

No fewer than four waiters attend them - refilling a glass,
sliding pastries onto china, lighting Schindler’s cigarette,
raking crumbs from the table with little combs.

EMILIE
It’s not a charade, all this?

SCHINDLER
A charade? How could it be a charade?

She doesn’t know, but she does know him. And all these signs
of apparent success just don’t fit his profile. Schindler
lets her in on a discovery.
28.


SCHINDLER
There’s no way I could have known this
before, but there was always something
missing. In every business I tried, I
see now it wasn’t me that was failing, it
was this thing, this missing thing. Even
if I’d known what it was, there’s nothing
I could have done about it, because you
can’t create this sort of thing. And it
makes all the difference in the world
between success and failure.

He waits for her to guess what the thing is. His looks says,
It’s so simple, how can you not know?

EMILIE
Luck.

SCHINDLER
War.

41. INT. NIGHTCLUB - NIGHT 41.

“Gloomy Sunday” from a combo on a stage. Schindler and
Emilie dancing. Pressed against her - both have had a few -
he can feel her laugh to herself.

SCHINDLER
What?

EMILIE
I feel like an old-fashioned couple. It
feels good.

He smiles, even as his eyes roam the room and find and meet
the eyes of a German girl dancing with another man.

42. INT. SCHINDLER’S APARTMENT - LATER - NIGHT 42.

Schindler and Emilie lounging in bed, champagne bottle on the
nightstand. Long silence before -
29.


EMILIE
Should I stay?

SCHINDLER
(pause)
It’s a beautiful city.

That’s not the answer she’s looking for and he knows it.

EMILIE
Should I stay?

SCHINDLER
(pause)
It’s up to you.

That’s not it either.

EMILIE
No, it’s up to you.

Schindler stares out at the lights of the city. They look
like jewels.

EMILIE
Promise me no doorman or maitre ‘d will
presume I am anyone other than Mrs.
Schindler … and I’ll stay.

He promises her nothing.

43. EXT. TRAIN STATION - DAY 43.

Emilie waves goodbye to him from a first-class compartment
window. Down on the platform, he waves goodbye to her. as
the train pulls away, he turns away, and the platform of the
next track is revealed - soldiers and clerks supervising the
boarding of hundreds of people onto another train - the image
turning BLACK AND WHITE.
30.


CLERKS
Your luggage will follow you. Make sure
it’s clearly labeled. Leave your luggage
on the platform.

44. EXT. D.E.F. LOADING DOCK - DAY 44.

As workers load crates of enamelware onto trucks - back to
COLOR - Stern and Schindler and the dock foreman confer over
an invoice.

More to Stern -

FOREMAN
Every other time it’s been all right.
This time when I weigh the truck, I see
he’s heavy, he’s loaded too much. I point
this out to him, I tell him to wait, he
tells me he’s got a new arrangement with
Mr. Schindler -
(to Schindler)
- that you know all about it and it’s
okay with you.

SCHINDLER
It’s “okay” with me?

On the surface, Schindler remains calm; underneath, he’s
livid. Clearly it’s not “okay” with him.

STERN
How heavy was he?

FOREMAN
Not that much, just too much for it to be
a mistake - 200 kilos.

Stern and Schindler exchange a glance. Then -

SCHINDLER
(pause)
You’re sure.
31.


The foreman nods.
Genres: ["Drama","War"]

Summary Schindler and Emilie enjoy a romantic evening together, receiving special attention at a restaurant and dancing at a nightclub. Schindler reveals to Emilie that war has been the missing element in his success. In his apartment, Emilie asks if she should stay, but Schindler's response is unclear. Eventually, Emilie departs on a train. The scene concludes with Schindler confronting a foreman about a worker overloading a truck, leaving the conflict unresolved.
Strengths
  • Effective character development
  • Emotional depth
  • Exploration of themes
Weaknesses
  • Limited plot progression

Ratings
Overall

Overall: 9

The scene is well-written and effectively conveys the emotional depth of the characters. It provides a significant development in Schindler's character arc and explores themes of success, failure, and the impact of war.


Story Content

Concept: 8

The concept of the scene, focusing on Schindler's personal life and his realization about the missing element in his business ventures, is compelling and adds depth to the overall story.

Plot: 7

The plot of the scene revolves around Schindler and Emilie's night out, providing a glimpse into their relationship and Schindler's internal struggle. While it doesn't significantly advance the main plot, it adds depth to the character development.

Originality: 6

The level of originality in this scene is moderate. While the setting and themes of discrimination during wartime have been explored before, the specific interactions and dialogue between the characters bring a fresh perspective to the familiar situation. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 9

The scene delves into Schindler's character, revealing his internal conflict and his desire for success. Emilie's character is also explored, showcasing her understanding of Schindler and their relationship.

Character Changes: 8

Schindler experiences a significant change in this scene as he realizes the missing element in his business ventures and the impact of war on his success. This realization sets him on a path of moral growth and redemption.

Internal Goal: 8

The protagonist's internal goal in this scene is to reveal his true self and his realization about the missing element in his previous business ventures. It reflects his deeper desire for success and his fear of failure.

External Goal: 7

The protagonist's external goal in this scene is to have a romantic evening with his wife. It reflects the immediate circumstances of their date night and the challenges they face due to the discrimination against Jews.


Scene Elements

Conflict Level: 5

The conflict in the scene is primarily internal, as Schindler grapples with his desire for success and the moral implications of his actions. There is also a subtle conflict between Schindler and the foreman regarding the loading of crates.

Opposition: 8

The opposition in this scene is strong as the protagonist faces discrimination and challenges from the dock foreman. The audience is unsure of how the protagonist will overcome these obstacles, adding suspense to the scene.

High Stakes: 6

The stakes in the scene are primarily internal, as Schindler grapples with his desire for success and the moral implications of his actions. The scene sets the stage for the high stakes that Schindler will face in the future.

Story Forward: 6

While the scene doesn't directly advance the main plot, it provides important character development for Schindler and sets the stage for his future actions.

Unpredictability: 7

This scene is unpredictable because it introduces unexpected elements such as the protagonist's revelation about the missing element for success and the conflict with the dock foreman. These elements add suspense and keep the audience guessing about the direction of the story.

Philosophical Conflict: 7

There is a philosophical conflict evident in this scene between the protagonist's belief in luck and his belief in war as the missing element for success. This challenges his wife's belief in luck and raises questions about the role of external factors in achieving success.


Audience Engagement

Emotional Impact: 8

The scene evokes emotions through the intimate moments between Schindler and Emilie, as well as Schindler's internal struggle. It adds depth to the characters and engages the audience emotionally.

Dialogue: 8

The dialogue in the scene is well-crafted and effectively conveys the emotions and thoughts of the characters. It adds depth to their relationship and provides insight into their personalities.

Engagement: 9

This scene is engaging because it presents a conflict between the protagonist's internal and external goals, as well as a philosophical conflict. The dialogue and actions of the characters create tension and intrigue, keeping the audience invested in the scene.

Pacing: 8

The pacing of the scene contributes to its effectiveness by balancing moments of tension and reflection. The rhythm of the dialogue and the pauses between lines create a sense of anticipation and allow the audience to absorb the emotional impact of the scene.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. It uses proper scene headings, action lines, and dialogue formatting to clearly convey the visual and auditory elements of the scene.

Structure: 8

The structure of this scene follows the expected format for its genre. It introduces the setting and characters, establishes the internal and external goals, and progresses the narrative through dialogue and actions.


Critique
  • The scene transitions are abrupt and could benefit from more gradual shifts to maintain a smooth narrative flow.
  • The dialogue in the restaurant scene could be more natural and less expository, allowing the characters' emotions to drive the conversation.
  • The emotional tension between Schindler and Emilie could be heightened with more subtle and nuanced interactions.
  • The introduction of the German girl in the nightclub scene feels unnecessary and does not contribute to the development of the main characters or plot.
  • The final lines of the scene could be more impactful if they were grounded in the emotional context of the characters' relationship and the events leading up to this moment.
Suggestions
  • Consider using fading transitions between scenes to create a more seamless narrative flow.
  • Incorporate more pauses, gestures, and emotional cues in the dialogue to create a more authentic and engaging conversation.
  • Explore Schindler and Emilie's relationship dynamics through subtext and non-verbal communication, heightening the emotional stakes of their interactions.
  • Eliminate or minimize the German girl's presence in the nightclub scene, focusing instead on the emotional connection between Schindler and Emilie.
  • Ground the final lines in the characters' emotional states, making their decision to part ways or stay together more meaningful and impactful for the reader.



Scene 9 -  Confrontation and Gratitude
45. INT. GHETTO STOREFRONT - DAY 45.

Pfefferberg and Schindler bang in through the front door,
startling a woman at a desk.

WOMAN AT DESK
Can I help you?

They move past her without a word and into the back of the
place, into a storeroom. They stride past long racks full of
enamelware and other goods.

A man glances up, sees them coming. He’s one of Schindler’s
investors, the one who questioned the German’s word. The
man’s teenage sons rush to their father’s defense, but
Pfefferberg grabs him and locks an arm tightly around his
neck.

Silence. Then, calmly -

SCHINDLER
If you or anyone acting as an agent for
you comes to my factory again, I’ll have
you arrested.

INVESTOR
It was a mistake.

SCHINDLER
It was a mistake? What was a mistake?
How do you know what I’m talking about?

INVESTOR
All right, it wasn’t a mistake, but it
was one time.

SCHINDLER
We had a deal, you broke it. One phone
call and your whole family is dead.
32.


He turns and walks away. Pfefferberg lets the guy go and
follows. The investor’s sons help their father up off the
floor. Gasping, he yells.

INVESTOR
I gave you money.

- but Schindler and Pfefferberg are already gone, coming
through the front office and out the front door -

46. EXT. STOREFRONT - CONTINUOUS - DAY 46.

- to the street. Pfefferberg looks a little shaken from the
experience. Schindler straightens his friend’s clothes.

SCHINDLER
How you feeling, all right?

PFEFFERBERG
Yeah.

SCHINDLER
What’s the matter, everything all right
at home?
(Pfefferberg nods)
Mila’s okay?

PFEFFERBERG
She’s good.

Well, then, Schindler can’t imagine what could be wrong. He
pats Pfefferberg on the shoulder and leads him away.

SCHINDLER
Good.

47. INT. FACTORY FLOOR - DAY 47.

The long tables accommodate most of workers. The rest eat
their lunch on the floor. Soup and bread.
33.


48. INT. SCHINDLER’S OFFICE - SAME TIME - DAY 48.

An elegant place setting for one. Meat, vegetables, glass of
wine, all untouched. Schindler leafing through pages of a
report Stern has prepared for him.

SCHINDLER
I could try to read this or I could eat
my lunch while it’s till hot. We’re
doing well?

STERN
Yes.

SCHINDLER
Better this month than last?

STERN
Yes.

SCHINDLER
Any reason to think next month will be
worse?

STERN
The war could end.

No chance of that. Satisfied, Schindler returns the report
to his accountant and starts to eat. Stern knows he is
excused, but looks like he wants to say something more; he
just doesn’t know how to say it.

SCHINDLER
(impatient)
What?

STERN
(pause)
There’s a machinist outside who’d like to
thank you personally for giving him a
job.

Schindler gives his accountant a long-suffering look.
34.


STERN
He asks every day . It’ll just take a
minute. He’s very grateful.

Schindler’s silence says, Is this really necessary? Stern
pretends it’s a tacit okay, goes to the door and pokes his
head out.

STERN
Mr. Lowenstein?

An old man with one arm appears in the doorway and Schindler
glances to the ceiling, to heaven. As the man slowly makes
his way into the room, Schindler sees the bruises on his
face. And when he speaks, only half his mouth moves; the
other half is paralyzed.

LOWENSTEIN
I want to thank you, sir, for giving me
the opportunity to work.

SCHINDLER
You’re welcome, I’m sure you’re doing a
great job.

Schindler shakes the man’s hand perfunctorily and tells Stern
with a look, okay, that’s enough, get him out of here.

LOWENSTEIN
The SS beat me up. They would have
killed me, but I’m essential to the war
effort, thanks to you.

SCHINDLER
That’s great.

LOWENSTEIN
I work hard for you. I’ll continue to
work hard for you.

SCHINDLER
That’s great, thanks.
35.


LOWENSTEIN
God bless you, sir.

SCHINDLER
Yeah, okay.

LOWENSTEIN
You’re a good man.

Schindler is dying, and telling Stern with his eyes, Get this
guy out of here. Stern takes the man’s arm.

STERN
Okay, Mr. Lowenstein.

LOWENSTEIN
He saved my life.

STERN
Yes, he did.

LOWENSTEIN
God bless him.

STERN
Yes.

They disappear out the door. Schindler sits down to his
meal. And tries to eat it.
Genres: ["Drama","Historical"]

Summary Pfefferberg and Schindler confront an investor who broke their deal in a ghetto storefront. Schindler threatens the investor, mentioning the consequences for his family. They leave and discuss personal matters. In Schindler's factory, workers have lunch while Schindler reviews a report with his accountant. An old man, Lowenstein, interrupts and thanks Schindler for saving his life. Schindler is uncomfortable and wants him to leave. The scene ends with Schindler trying to eat his meal, feeling uneasy.
Strengths
  • Intense dialogue
  • Tense atmosphere
  • Effective portrayal of power dynamics
Weaknesses
  • Limited character development
  • Lack of exploration of the theme

Ratings
Overall

Overall: 9

The scene is highly impactful and effectively conveys the tension and power dynamics between Schindler and his investor. The dialogue is sharp and the conflict is palpable, creating a memorable and intense moment.


Story Content

Concept: 8

The concept of the scene revolves around the power dynamics and risks involved in Schindler's business dealings. It effectively portrays the consequences of breaking a deal and the potential danger faced by those involved.

Plot: 8

The plot of the scene focuses on the confrontation between Schindler and his investor, highlighting the consequences of breaking a deal and the power dynamics at play. It adds tension and conflict to the overall story.

Originality: 6

The level of originality in this scene is moderate. While the situation of a confrontation between a protagonist and an investor is not entirely unique, the specific dialogue and power dynamics add freshness to the scene. The authenticity of the characters' actions and dialogue contributes to the originality.


Character Development

Characters: 9

The characters in the scene, particularly Schindler and his investor, are well-developed and their motivations and actions are clear. Their interactions create a strong sense of tension and conflict.

Character Changes: 7

There is a slight character change in Schindler's investor, who realizes the consequences of breaking a deal and expresses gratitude towards Schindler. However, the change is not significant or transformative.

Internal Goal: 8

The protagonist's internal goal in this scene is to assert his power and maintain control over his business and the people involved. This reflects his need for control, his fear of losing his position, and his desire to protect those he cares about.

External Goal: 7

The protagonist's external goal in this scene is to confront the investor who broke their deal and assert his dominance. This reflects the immediate challenge of maintaining his reputation and authority in his business dealings.


Scene Elements

Conflict Level: 9

The conflict in the scene is intense and palpable. It revolves around the power dynamics and risks involved in Schindler's business dealings. The confrontation between Schindler and his investor creates a high level of conflict.

Opposition: 9

The opposition in this scene is strong, as the protagonist confronts the investor and asserts his power. The audience is unsure of how the confrontation will unfold, adding to the tension.

High Stakes: 9

The stakes in the scene are high, as Schindler threatens the investor with potential harm to his family if he breaks the deal again. The scene showcases the risks and potential consequences faced by the characters.

Story Forward: 8

The scene moves the story forward by highlighting the consequences of breaking a deal and the risks involved in Schindler's business dealings. It adds tension and conflict to the overall narrative.

Unpredictability: 7

This scene is unpredictable because the audience does not know how the confrontation will unfold and what actions the protagonist will take.

Philosophical Conflict: 7

There is a philosophical conflict evident in this scene between the protagonist's belief in power and control and the investor's belief in self-preservation. This challenges the protagonist's values and worldview, as he must decide how far he is willing to go to maintain his power.


Audience Engagement

Emotional Impact: 8

The scene evokes strong emotions, particularly tension and unease. The power dynamics and risks involved in the characters' relationship create a sense of unease and anticipation.

Dialogue: 9

The dialogue in the scene is sharp, intense, and impactful. It effectively conveys the power dynamics and the risks involved in the characters' relationship. The lines are well-written and contribute to the overall tension of the scene.

Engagement: 9

This scene is engaging because it presents a tense confrontation between the protagonist and the investor, with high stakes and emotional intensity.

Pacing: 8

The pacing of the scene contributes to its effectiveness by maintaining a sense of tension and urgency. The dialogue and actions are concise and impactful, keeping the scene moving forward.


Technical Aspect

Formatting: 9

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

Structure: 8

The structure of this scene follows the expected format for its genre. It establishes the setting, introduces the conflict, and resolves it within a concise timeframe.


Critique
  • The scene transitions are abrupt and could be smoother to ensure a more natural flow between the different locations and events.
  • The dialogue could benefit from more subtext and variation in tone to reflect the emotions and motivations of the characters in each situation.
  • The character of Schindler seems inconsistent, shifting from intimidating to friendly within short periods of time. It would be helpful to establish a clearer motivation for these shifts to make his character more believable.
  • The scene with Lowenstein, the one-armed machinist, could be more impactful if Schindler's reactions were more genuine and less perfunctory, given the man's emotional state and gratitude.
  • The connection between scenes could be strengthened by dropping hints or foreshadowing in earlier scenes to set up later conflicts or events.
Suggestions
  • Smoother scene transitions to maintain a consistent emotional tone and pacing.
  • Incorporate subtext into the dialogue, allowing the characters' emotions and motivations to be expressed in a more nuanced way.
  • Establish a consistent motivation for Schindler's character to make his shifts in behavior more believable and less abrupt.
  • Make Schindler's interactions with Lowenstein more genuine, highlighting the emotional impact of their encounter.
  • Include subtle foreshadowing or hints in earlier scenes to create a stronger connection to later conflicts or events.



Scene 10 -  Frustration and Rejection
49. EXT. FACTORY - DAY 49.

Stern and Schindler emerge from the rear of the factory. The
Mercedes is waiting, the back door held open by a driver.
Climbing in -

SCHINDLER
Don’t ever do that to me again.

STERN
Do what?

Stern knows what he means. And Schindler knows he knows.
36.


SCHINDLER
Close the door.

The driver closes the door.

50. EXT. GHETTO GATE - DAY 50.

Snow on the ground and more coming down. A hundred of
Schindler’s workers marching past the ghetto gate, as is the
custom, under armed guard. Turning onto Zablocie Street,
they’re halted by an SS unit standing around some trucks.

51. EXT. ZABLOCIE STREET - DAY 51.

Shovels scraping at snow. The marchers working to clear it
from the street. A dialog between one of the guards and an
SS officer is interrupted by a shot - and the face of the one-
armed machinist falls into the frame.

52. INT. OFFICE, SS HEADQUARTERS - DAY 52.

Herman Toffel, an SS contact of Schindler’s who he actually
likes, sits behind his desk.

TOFFEL
It’s got nothing to do with reality,
Oskar, I know it and you know it, it’s a
matter of national priority to these
guys. It’s got a ritual significance to
them, Jews shoveling snow.

SCHINDLER
I lost a day of production. I lost a
worker. I expect to be compensated.

TOFFEL
File a grievance with the Economic
Office, it’s your right.

SCHINDLER
Would it do any good?
37.


TOFFEL
No.

Schindler knows it’s not Toffel’s fault, but the whole
situation is maddening to him. He shakes his head in
disgust.

TOFFEL
I think you’re going to have to put up
with a lot of snow shoveling yet.

Schindler gets up, shakes Toffel’s hand, turns to leave.

TOFFEL
A one-armed machinist, Oskar?

SCHINDLER
(right back)
He was a metal press operator, quite
skilled.

Toffel nods, smiles.

53. EXT. FIELD - DAY 53.

From a distance, Stern and Schindler slowly walk a wasteland
that lies between the rear of DEF and two other factories - a
radiator works and a box plant.

Stern’s doing all the talking, in his usual quiet but
persuasive manner. Every so often, Schindler, glancing from
his own factory to the others, nods.

54. INT. SCHINDLER’S OFFICE - DAY 54.

The party pins the two other German businessmen wear are
nothing compared to the elaborate thing in Schindler’s lapel.
He sits at his desk sipping cognac, a large portrait of
Hitler hanging prominently on the wall behind him.
38.


SCHINDLER
Unlike your radiators - and your boxes -
my products aren’t for sale on the open
market. This company has only one
client, the German Army. And lately I’ve
been having trouble fulfilling my
obligations to my client. With your
help, I hope the problem can be solved.
The problem, simply, is space.

Stern, who has been keeping a low profile, hands the
gentlemen each a set of documents.

SCHINDLER
I’d like you to consider a proposal which
I think you’ll find equitable. I’d like
you to think about it and get back to me
as soon as -

KUHNPAST
Excuse me - do you really think this is
appropriate?

The man glances to Stern, and back to Schindler, his look
saying, This is wrong, having a Jew present while we discuss
business. If Schindler catches his meaning, he doesn’t admit
it. Kuhnpast almost sighs.

KUHNPAST
I can appreciate your problem. If I had
any space I could lease you, I would. I
don’t. I’m sorry.

HOHNE
Me neither, sorry.

SCHINDLER
I don’t want to lease your facilities, I
want to buy them. I’m prepared to offer
you fair market value. And to let you
stay on, if you want, as supervisors.
39.


SCHINDLER
(pause)
On salary.

There’s a long stunned silence. The Germans can’t believe
it. After the initial shock wears off, Kuhnpast has to
laugh.

KUHNPAST
You’ve got to be kidding.

Nobody is kidding.

KUHNPAST
(pause)
Thanks for the drink.

He sets it down, gets up. Hohne gets up. They return the
documents to Stern and turn to leave. They aren’t quite out
the door when Schindler wonders out loud to Stern:

SCHINDLER
You try to be fair to people, they walk
out the door; I’ve never understood
that. What’s next?

STERN
Christmas presents.

SCHINDLER
Ah, yes.

The businessmen slow, but don’t look back into the room.
Genres: ["Drama","War"]

Summary In this scene, Schindler and Stern witness a group of workers being marched past the ghetto gate under armed guard. They then confront SS contact Herman Toffel about the workers shoveling snow, but the conflict remains unresolved. Schindler presents a business proposal to German businessmen Kuhnpast and Hohne, but they refuse, leading to frustration and rejection.
Strengths
  • Effective dialogue
  • Tense atmosphere
  • Well-developed characters
Weaknesses
  • Lack of strong emotional impact

Ratings
Overall

Overall: 8

The scene effectively conveys Schindler's frustration and the tense atmosphere of the war. The dialogue between Schindler and the German businessmen is engaging and highlights the power dynamics at play. The scene also moves the story forward by showing Schindler's ongoing efforts to expand his factory and support his workers.


Story Content

Concept: 7

The concept of negotiating for more space in the factory and the discrimination faced by Jewish workers is compelling and adds depth to the story. However, it is not the most innovative or unique concept.

Plot: 8

The plot of the scene revolves around Schindler's attempts to negotiate for more space in his factory and the obstacles he faces. It is engaging and moves the story forward.

Originality: 6

The level of originality in this scene is moderate. While the setting and context of World War II and the challenges faced by the characters are familiar, the specific negotiations and the protagonist's offer to buy the facilities instead of leasing them add a fresh approach to the situation. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 9

The characters in the scene, particularly Schindler, are well-developed and their motivations and frustrations are clearly conveyed. The dialogue between Schindler and the German businessmen also reveals their personalities and power dynamics.

Character Changes: 7

Schindler's frustration and determination to support his workers is further developed in this scene, but there is not a significant character change.

Internal Goal: 8

The protagonist's internal goal in this scene is to assert his power and negotiate a deal to solve his space problem. This reflects his desire to protect his workers and fulfill his obligations to his client, as well as his frustration with the obstacles he faces.

External Goal: 7

The protagonist's external goal in this scene is to buy additional facilities to solve his space problem. This reflects the immediate challenge of fulfilling his obligations to his client and finding a solution to his production issues.


Scene Elements

Conflict Level: 8

The scene has a high level of conflict, both in terms of Schindler's frustration with the SS and the power dynamics between him and the German businessmen.

Opposition: 7

The opposition in this scene is strong as the businessmen initially doubt and challenge the protagonist's offer. The audience doesn't know how the negotiation will go, adding to the opposition and creating suspense.

High Stakes: 8

The stakes are high in the scene as Schindler's factory and the livelihood of his workers are at risk. The tension and power dynamics add to the sense of high stakes.

Story Forward: 9

The scene moves the story forward by showing Schindler's ongoing efforts to expand his factory and support his workers. It also introduces the conflict between Schindler and the SS.

Unpredictability: 7

This scene is unpredictable because the audience doesn't know how the negotiation will go and what the businessmen's reactions will be to the protagonist's offer. The unexpectedness of the offer adds to the unpredictability.

Philosophical Conflict: 7

There is a philosophical conflict evident in this scene between the protagonist's belief in fairness and treating people well, and the businessmen's skepticism and disbelief in his offer. This challenges the protagonist's values and worldview, as he struggles to understand why people don't appreciate fairness.


Audience Engagement

Emotional Impact: 7

The scene evokes a sense of frustration and tension, but it does not have a strong emotional impact compared to other scenes in the screenplay.

Dialogue: 9

The dialogue in the scene is well-written and effectively conveys the tension and power dynamics between the characters. It also reveals their motivations and frustrations.

Engagement: 9

This scene is engaging because it presents a conflict and negotiation that holds the audience's attention. The tension and frustration of the protagonist, as well as the unexpected offer he makes, create intrigue and curiosity.

Pacing: 8

The pacing of the scene contributes to its effectiveness by maintaining a steady rhythm that allows for tension and anticipation to build. The dialogue and actions are paced in a way that keeps the audience engaged.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. It includes scene headings, action lines, and dialogue formatted correctly.

Structure: 8

The structure of this scene follows the expected format for its genre. It begins with an establishing shot, followed by character interactions and dialogue that advance the plot and reveal the protagonist's goals and challenges.


Critique
  • The scene transitions could be smoother and more cohesive, as the abrupt cuts between locations and conversations can be jarring.
  • The dialogue, while informative, can sometimes feel stilted and overly formal, which may not reflect natural speech patterns.
  • The emotional tone of the scene is somewhat uneven, as it fluctuates between tense and business-like, making it difficult to grasp the overall mood.
  • The introduction of new characters, such as Toffel and the two German businessmen, could benefit from more context and development to make their significance clearer to the reader.
Suggestions
  • Consider using more transitional phrases or sentences to seamlessly connect the different locations and conversations in the scene.
  • Revise the dialogue to make it sound more natural and conversational, which will help the reader become more immersed in the story.
  • Establish a consistent emotional tone throughout the scene, ensuring that the reader can easily follow the characters' emotional arcs.
  • Provide background information on new characters when they are introduced, giving the reader a clearer understanding of their roles and significance in the story.



Scene 11 -  Arrest and Release
55. EXT. SCHERNER’S RESIDENCE - CRACOW - MORNING 55.

Pfefferberg wipes a smudge from the hood of an otherwise
pristine BMW Cabriolet. As Scherner and his wife emerge from
their house in robes, Scherner whispers to himself -

SCHERNER
Oskar …
40.


56. EXT. KUHNPAST’S RADIATOR FACTORY - DAY 56.

Workers high on the side of the building toss down the
letters of the radiator sign as others hoist up a big “D.”
Under armed guard, others unload a metal press machine from a
truck.

57. INT. RADIATOR FACTORY / DEF ANNEX - DAY 57.

Technicians make adjustments to presses already in place.
Others test the new firing ovens. Kuhnpast is being forcibly
removed from the premises.

58. INT. GHETTO EMPLOYMENT OFFICE - DAY 58.

Crowded beyond belief, the place is like a post office gone
mad. Stern, moving along one of the impossibly crowded
lines, pauses to speak with an elderly couple.

59. EXT. PEACE SQUARE - DAY 59.

A hand slaps a blue sticker on a work card. Slap, another.
And another. And another.

60. INT. D.E.F. FRONT OFFICE - DAY 60.

Christmas decorations. Klonowska at her desk, her eyes
closed tight.

SCHINDLER
All right.

She opens her eyes and smiles. Schindler is holding a poodle
in his arms. She comes around to kiss him. He sets the dog
on the desk. Stern, across the room, watches blank-faced.

GESTAPO (O.S.)
Oskar Schindler?

Schindler, Stern and Klonowska turn to the voice. Two
Gestapo men have entered unannounced.
41.


GESTAPO
We have a warrant to take your company’s
business records with us. And another to
take you.

Schindler stares at them in disbelief. Stern quietly slips
one of the ledgers on his desk into a drawer.

SCHINDLER
Am I permitted to have my secretary
cancel my appointments for the day?

He doesn’t wait for their approval. He scribbles down some
names - Toffel, Czurda, Reeder, Scherner. Underlining
Scherner, he glances to Klonowska. She understands.

61. INT. OFFICE, SS HEADQUARTERS, CRACOW - DAY 61.

A humorless middle-level bureaucrat sits behind a desk and
D.E.F.’s ledgers and cashbooks.

GESTAPO CLERK
You live very well.

The man slowly shakes his head ‘no’ to Schindler’s offer of a
cigarette. Schindler tamps it against the crystal of his
gold watch.

GESTAPO CLERK
This standard of living comes entirely
from legitimate sources, I take it?

Schindler lights the cigarette and drags on it, all but
ignoring the man.

GESTAPO CLERK
As an SS supplier, you have a moral
obligation to desist from blackmarket
dealings. You’re in business to support
the war effort, not to fatten -
42.


SCHINDLER
(interrupting)
You know? When my friends ask, I’d love
to be able to tell them you treated me
with the utmost courtesy and respect.

The quiet matter-of-fact tone, more than the comment itself,
throws the bureaucrat off his rhythm. His eyes narrow
slightly. There’s a long silence.

62. INT. HALLWAY/ROOM - SS HEADQUARTERS - DAY 62.

The two who arrested him lead Schindler down a long hallway.
They reach a door, have him step inside and close the door
after him.

63. INT. SS “CELL” - EVENING 63.

Schindler knocks on the inside of the door. A Waffen SS man
opens it. The “prisoner” peels several bills from a thick
wad.

SCHINDLER
Chances of getting a bottle of vodka
pretty good?

He hands the young guard five times the going price.

WAFFEN GUARD
Yes, sir.

The guard turns to leave.

SCHINDLER
Wait a minute.

He peels off several more bills and hands them over.

SCHINDLER
Pajamas.
43.


64. INT. SS “CELL” - MORNING 64.

Perched on the side of the bed in pajamas, Schindler works on
a breakfast of herring and eggs, cheeses, rolls and coffee.
Someone has also brought him a newspaper. There’s an
apologetic knock on the door before it opens.

GUARD
I’m sorry to disturb you, sir. Whenever
you’re ready, you’re free to leave.

65. INT. FOYER, SS HEADQUARTERS - MORNING 65.

Schindler, the Gestapo clerk and one of the arresting
officers cross the foyer.

GESTAPO CLERK
I’d advise you not to get too
comfortable. Sooner or later, law
prevails. No matter who your friends
are.

Schindler ignores the man completely. Reaching the front
doors, the clerk turns over the D.E.F. records to their owner
and offers his hand. Schindler lets it hang there.

SCHINDLER
You expect me to walk home, or what?

GESTAPO CLERK
(tightly)
Bring a car around for Mr. Schindler.
Genres: ["Drama","War"]

Summary In this scene, Pfefferberg wipes a smudge off a car while workers remove the letters of a radiator sign at Kuhnpast's Radiator Factory. Technicians make adjustments to presses and test firing ovens. Stern speaks with an elderly couple at the Ghetto Employment Office. In the DEF Front Office, Schindler surprises Klonowska with a poodle before being interrupted by two Gestapo men. Schindler quickly writes down names and is later questioned by a Gestapo clerk at the SS Headquarters. He is arrested, bribes a guard for vodka and pajamas in his cell, and is released the next morning, escorted out by the Gestapo clerk.
Strengths
  • Intense and impactful confrontation
  • Strong character development
  • Compelling plot progression
Weaknesses

    Ratings
    Overall

    Overall: 9

    The scene is highly impactful and intense, showcasing Schindler's bravery and resilience. It effectively conveys the high stakes and conflict present in the story.


    Story Content

    Concept: 8

    The concept of Schindler standing up to the Gestapo and fighting for his workers is compelling and emotionally resonant.

    Plot: 9

    The plot is engaging and moves the story forward significantly. It highlights Schindler's determination and the challenges he faces.

    Originality: 7

    This scene demonstrates a level of originality through its portrayal of the protagonist's internal and external goals within the context of World War II. The authenticity of the characters' actions and dialogue adds to the originality, as it reflects the historical setting and the moral complexities of the time.


    Character Development

    Characters: 9

    The characters, particularly Schindler, are well-developed and their actions and dialogue are consistent with their motivations and personalities.

    Character Changes: 8

    Schindler's character remains consistent in this scene, but his actions demonstrate his unwavering commitment to protecting his workers.

    Internal Goal: 8

    The protagonist's internal goal in this scene is to protect his employees and their records from the Gestapo. This reflects his deeper desire to save as many Jewish lives as possible and his fear of being discovered as a supporter of the Jewish people.

    External Goal: 9

    The protagonist's external goal in this scene is to deceive the Gestapo and protect his company's business records. This reflects the immediate circumstances and challenges he is facing, as the Gestapo is attempting to seize his records and potentially arrest him.


    Scene Elements

    Conflict Level: 9

    The conflict between Schindler and the Gestapo, as well as the larger conflict of protecting the workers, is intense and drives the scene.

    Opposition: 9

    The opposition in this scene is strong, as the protagonist is faced with the threat of arrest by the Gestapo. The audience is unsure of how the situation will unfold and whether the protagonist will be able to outsmart his opponents.

    High Stakes: 9

    The stakes are high as Schindler risks his own safety to protect his workers and business.

    Story Forward: 9

    The scene significantly advances the story by showcasing Schindler's determination and the challenges he faces.

    Unpredictability: 8

    This scene is unpredictable because it introduces unexpected obstacles and challenges for the protagonist. The reader or viewer does not know how the situation will unfold and is kept on edge.

    Philosophical Conflict: 7

    There is a philosophical conflict evident in this scene between Schindler's belief in the value of human life and the Gestapo's adherence to Nazi ideology. This challenges Schindler's beliefs, values, and worldview as he must navigate the dangerous and oppressive environment while trying to save as many lives as possible.


    Audience Engagement

    Emotional Impact: 9

    The scene evokes strong emotions, particularly admiration for Schindler's bravery and concern for the safety of the workers.

    Dialogue: 8

    The dialogue is impactful and effectively conveys the tension and defiance in the scene.

    Engagement: 9

    This scene is engaging because it presents a high-stakes situation with tension and conflict. The reader or viewer is invested in the protagonist's goals and is eager to see how he will navigate the challenges and outsmart the Gestapo.

    Pacing: 8

    The pacing of this scene contributes to its effectiveness by maintaining a sense of urgency and tension. The rhythm of the scene keeps the reader or viewer engaged and invested in the outcome.


    Technical Aspect

    Formatting: 9

    The formatting of this scene follows the expected format for its genre. It uses proper scene headings, action lines, and dialogue formatting to clearly convey the events and dialogue.

    Structure: 9

    The structure of this scene follows the expected format for its genre. It effectively transitions between different locations and provides clear descriptions of the actions and dialogue of the characters.


    Critique
    • The scene is very detailed and provides a clear picture of what is happening, but it could benefit from more focus on the emotional stakes and character development.
    • The introduction of the Gestapo feels abrupt and could be better integrated into the scene to build tension.
    • The dialogue between Schindler and the Gestapo clerk is well-written, but the clerk's lines could be more specific to the situation to avoid repetition.
    • The scene could benefit from a clearer sense of what Schindler is feeling and thinking as he is taken away by the Gestapo, and how this affects his interactions with the clerk and guard.
    • The final lines of the scene, with Schindler's release, feel a bit anticlimactic and could be used to set up future conflicts or developments.
    Suggestions
    • Consider adding more sensory details to the scene to make it feel more immersive and engaging for the reader.
    • Think about how Schindler's interactions with Klonowska and Stern earlier in the scene might affect his mindset when he is taken away by the Gestapo.
    • Try incorporating specific details about the clerk's role or personality to make the dialogue feel more grounded and unique.
    • Consider adding a line or two of internal monologue from Schindler to give the reader insight into his thoughts and feelings during this pivotal moment.
    • Think about how this scene might set up future conflicts or challenges for Schindler, and how you can use the final lines to hint at these developments.



    Scene 12 -  Schindler's Attempt to Save Stern
    66. EXT. D.E.F. FACTORY - DAY 66.

    A Gestapo limousine pulls in through the gates of the
    factory, parks near the loading docks. The driver, the same
    SS officer, waits for Schindler to climb out, but he doesn’t;
    he waits for the SS man to come around and open the door for
    him.
    44.


    SCHINDLER
    If you’d return the ledgers to my office
    I’d appreciate it.

    There are no less than forty able-bodied Jewish laborers
    working on the docks, any one of which would be better suited
    to the task. The Gestapo man calls to one of them.

    SCHINDLER
    Excuse me - hey -
    (the guy turns)
    They’re working.

    The guy just stares. Finally he heads off with the ledgers.
    The poodle bounds out past him and over to Schindler. He
    gives the dog a pat on the head.

    67. EXT. SCHINDLER’S BUILDING - EVENING 67.

    Elegantly dressed for a night out, Schindler and Klonowska
    emerge from the building. As they’re escorted to the waiting
    car, Schindler hesitates. A nervous figure in the shadows of
    an alcove is gesturing to him, beckoning him.

    Schindler excuses himself. Klonowska watches as he joins the
    man in the alcove. Their whispered conversation is over
    quickly and the man hurries off.

    68. EXT. PROKOCIM DEPOT - CRACOW - LATER - NIGHT 68.

    From the locomotive, looking back, the string of splattered
    livestock carriages stretches into darkness. There’s a lot
    of activity on the platform.

    Guards mill. Handcards piled with luggage trundle by.
    People hand up children to others already in the cars and
    climb aboard after them. The clerks are out in full force
    with their lists and clipboards, reminding the travelers to
    label their suitcases.

    Climbing from his Mercedes, Schindler stares. He’s heard of
    this, but actually seeing the juxtaposition - human and
    cattle cars - this is something else.
    45.

    Recovering, he tells Klonowska to stay in the car and, moving
    along the side of the train, calls Stern’s name to the faces
    peering out from behind the slats and barbed wire.

    AN ENORMOUS LIST OF NAMES -

    - several pages-worth on a clipboard; a Gestapo clerk
    methodically leafing through them.

    SCHINDLER (0.S.)
    He’s essential. Without him, everything
    comes to a grinding halt. If that
    happens -

    CLERK
    Itzhak Stern?
    (Schindler nods)
    He’s on the list.

    SCHINDLER
    He is.

    The clerk shows him the list, points out the name to him.

    SCHINDLER
    Well, let’s find him.

    CLERK
    He’s on the list. If he were an
    essential worker, he would not be on the
    list. He’s on the list. You can’t have
    him.

    SCHINDLER
    I’m talking to a clerk.

    Schindler pulls out a small notepad and drops his voice to a
    hard murmur, the growl of a reasonable man who isn’t ready -
    yet - to bring out his heavy guns:

    SCHINDLER
    What’s your name?
    46.


    CLERK
    Sir, the list is correct.

    SCHINDLER
    I didn’t ask you about the list, I asked
    you your name.

    CLERK
    Klaus Tauber.

    As Schindler writes it down, the clerk has second thoughts
    and calls to a superior, an SS sergeant, who comes over.

    CLERK
    The gentleman thinks a mistake’s been
    made.

    SCHINDLER
    My plant manager is somewhere on this
    train. If it leaves with him on it, it’ll
    disrupt production and the Armaments
    Board will want to know why.

    The sergeant takes a good hard look at the clothes, at the
    pin, at the man wearing them.

    SERGEANT
    (to the clerk)
    Is he on the list?

    CLERK
    Yes, sir.

    SERGEANT
    (to Schindler)
    The list is correct, sir. There’s
    nothing I can do.

    SCHINDLER
    May as well get your name while you’re
    here.
    47.


    SERGEANT
    My name? My name is Kunder. Sergeant
    Kunder. What’s yours?

    SCHINDLER
    Schindler.

    The sergeant takes out a pad. Now all three of them have
    lists. He jots down Schindler’s name. Schindler jots down
    his and flips the pad closed.

    SCHINDLER
    Sergeant, Mr. Tauber, thank you very
    much. I think I can guarantee you you’ll
    both be in Southern Russia before the end
    of the month. Good evening.

    He walks away, back toward his car. The clerk and sergeant
    smile. But slowly, slowly, the smiles sour at the
    possibility that this man calmly walking away from them could
    somehow arrange such a fate …

    ALL THREE OF THEM -

    - Schindler, the clerk and the sergeant - stride along the
    side of the cars. Two of them are calling out loudly -

    CLERK & SERGEANT
    Stern! Itzhak Stern!

    Soon it seems as if everybody except Schindler is yelling out
    the name. As they reach the last few cars, the accountant’s
    face appears through the slats.

    SCHINDLER
    There he is.

    SERGEANT
    Open it.

    Guards yank at a lever, slide the gate open. Stern climbs
    down. The clerk draws a line through his name on the list
    and hands the clipboard to Schindler.
    48.


    CLERK
    Initial it, please.
    (Schindler initials the change)
    And this …

    As Schindler signs three or four forms, the guards slide the
    carriage gate closed. Those left inside seem grateful for
    the extra space.

    CLERK
    It makes no difference to us, you
    understand - this one, that one. It’s
    the inconvenience to the list. It’s the
    paperwork.

    Schindler returns the clipboard. The sergeant motions to
    another who motions to the engineer. As the train pulls out,
    Stern tries to keep up with Schindler who’s striding away.

    STERN
    I somehow left my work card at home. I
    tried to tell them it was a mistake, but
    they -

    Schindler silences him with a look. He’s livid. Stern
    glances down at the ground.

    STERN
    I’m sorry. It was stupid.
    (contrite)
    Thank you.

    Schindler turns away and heads for the car. Stern hurries
    after him. They pass an area where all the luggage,
    carefully tagged, has been left - the image becoming BLACK
    and WHITE.
    Genres: ["Drama","War"]

    Summary Schindler arrives at the factory and asks the SS officer to return the ledgers to his office. He tries to get a Jewish laborer to retrieve the ledgers, but the man ignores him. Later, Schindler is approached by a nervous figure in the shadows and they have a quick conversation. Schindler and Klonowska then arrive at the Prokocim Depot in Cracow, where Schindler sees the human and cattle cars. He calls out for Itzhak Stern and is told that Stern is on the list and cannot be taken off. Schindler questions the clerk, writes down his name, and the clerk calls over a sergeant who also confirms Stern's presence on the list. Schindler writes down the sergeant's name and walks away. The clerk and sergeant join Schindler in calling out for Stern, and he is eventually found and released from the train. Schindler signs some forms and the train pulls away. Stern apologizes for leaving his work card at home, but Schindler is angry and walks away. Stern follows him and they pass an area with luggage that has been left behind. The scene ends with Schindler and Stern walking away from the train, with Schindler visibly angry.
    Strengths
    • Intense conflict
    • Compelling characters
    • High stakes
    Weaknesses
    • Limited character development

    Ratings
    Overall

    Overall: 9

    The scene is highly engaging and impactful, with intense conflict and high stakes. It effectively showcases Schindler's character and his resourcefulness in navigating dangerous situations.


    Story Content

    Concept: 8

    The concept of Schindler using his influence to save his workers and outsmart the Gestapo is compelling and well-executed.

    Plot: 9

    The plot of the scene revolves around Schindler's efforts to secure the release of his plant manager, Itzhak Stern, from a train bound for a concentration camp. It is filled with tension and suspense.

    Originality: 6

    The level of originality in this scene is moderate. While the setting and context of World War II and the Holocaust are familiar, the specific situations and interactions between the characters are unique. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


    Character Development

    Characters: 9

    The characters in the scene, particularly Schindler and the Gestapo clerk, are well-developed and their motivations and actions are clear and compelling.

    Character Changes: 7

    While there is not significant character development in this particular scene, it does showcase Schindler's resourcefulness and determination.

    Internal Goal: 8

    The protagonist's internal goal in this scene is to save as many Jewish laborers as possible and disrupt the production to protect them. This reflects Schindler's deeper desire to make a difference and save lives, as well as his fear of the consequences if he fails.

    External Goal: 9

    The protagonist's external goal in this scene is to find and rescue his plant manager, Itzhak Stern, who is essential to the production. This reflects the immediate challenge of ensuring the smooth operation of the factory and protecting the Jewish laborers.


    Scene Elements

    Conflict Level: 9

    The conflict in the scene is intense, with Schindler facing off against the Gestapo clerk to save his plant manager. The stakes are high and the tension is palpable.

    Opposition: 8

    The opposition in this scene is strong, as the protagonist faces resistance from the SS officer and the bureaucratic system. The audience is unsure of how the conflict will be resolved.

    High Stakes: 9

    The stakes in the scene are extremely high, as Schindler is risking his own safety to save his plant manager from being sent to a concentration camp.

    Story Forward: 8

    The scene moves the story forward by highlighting Schindler's ongoing efforts to protect his workers and the risks he is willing to take.

    Unpredictability: 7

    This scene is unpredictable because it introduces unexpected obstacles and challenges for the protagonist. The audience is unsure of how the situation will unfold and whether the protagonist will succeed in his goals.

    Philosophical Conflict: 7

    There is a philosophical conflict evident in this scene between Schindler's belief in the value of human life and the SS officer's adherence to the list and bureaucratic procedures. This challenges Schindler's values and worldview, as he tries to convince the officer to make an exception and save Stern.


    Audience Engagement

    Emotional Impact: 8

    The scene evokes strong emotions, particularly empathy for the characters and their precarious situation.

    Dialogue: 8

    The dialogue in the scene is concise and impactful, effectively conveying the characters' emotions and intentions.

    Engagement: 9

    This scene is engaging because it presents a high-stakes situation and creates tension through the protagonist's actions and dialogue. The audience is invested in the outcome and the fate of the characters.

    Pacing: 9

    The pacing of the scene contributes to its effectiveness by creating a sense of urgency and maintaining the audience's interest. The dialogue and action are well-paced, keeping the scene engaging.


    Technical Aspect

    Formatting: 9

    The formatting of this scene follows the expected format for its genre. It includes proper indentation, dialogue formatting, and scene transitions.

    Structure: 8

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


    Critique
    • The scene is well-written with a clear sense of tension and urgency, which is appropriate given the life-or-death stakes for the characters.
    • The description of the setting and the characters' actions are vivid and help to create a sense of place and atmosphere.
    • The dialogue is naturalistic and believable, and it effectively conveys the characters' emotions and motivations.
    • The scene is well-paced, with a good balance between action and dialogue.
    • The conflict between Schindler and the Gestapo clerk is well-established and provides a clear source of tension.
    • The use of the list as a symbol of bureaucracy and inflexibility is effective in highlighting the absurdity of the situation.
    • The scene ends on a cliffhanger, which will keep readers engaged and wanting to know what happens next.
    Suggestions
    • Consider adding more sensory details to the setting to make it feel even more immersive. For example, you could describe the sounds, smells, and textures of the train station and the train itself.
    • Consider adding more internal thoughts or emotions from the characters to make them feel more fully realized and relatable to the reader.
    • Consider adding more subtext to the dialogue to make it feel more layered and nuanced. For example, Schindler could use double meanings or hidden messages in his conversation with the Gestapo clerk.
    • Consider adding more foreshadowing or hints about the larger narrative to make the scene feel more connected to the rest of the story.
    • Consider adding more tension or conflict to the scene to make it feel more suspenseful and engaging. For example, you could have the Gestapo clerk become more aggressive or confrontational as the scene progresses.
    • Consider adding more stakes or consequences to the scene to make it feel more high-stakes and dramatic. For example, you could have Schindler risk his own life or freedom to save Stern.
    • Consider adding more resolution or closure to the scene to make it feel more satisfying and complete. For example, you could have Schindler and Stern have a heartfelt conversation or gesture of gratitude after the rescue.



    Scene 13 -  Sorting Jewelry and Touring the Ghetto
    69. EXT./INT. MECHANICS GARAGE - NIGHT 69.

    Mechanics’ hood-lamps throw down pools of light through which
    me wheel handcarts piled high with suitcases, briefcases,
    steamer trunks - BLACK and WHITE.
    49.


    Moving along with one of the handcarts into a huge garage
    past racks of clothes, each item tagged, past musical
    instruments, furniture, paintings, against one wall -
    children’s toys, sorted by size.

    The cart stops. A valise is handed to someone who dumps and
    sorts the contents on a greasy table. The jewelry is taken
    to another area, to a pit, one of two deep lubrication bays
    filled with watches, bracelets, necklaces, candelabra,
    Passover platters, gold in one, silver the other, and tossed
    in.

    At workbenches, four Jewish jewelers under SS guard sift and
    sort and weigh and grade diamonds, pearls, pendants, brooches
    children’s rings - faltering only once, when a uniformed
    figure upends a box, spilling out gold teeth smeared with
    blood - the image saturating with COLOR.

    70. EXT. COUNTRYSIDE - DAY 70.

    Fractured gravestones like broken teeth jut from the earth of
    a neglected Jewish cemetery outside of town. Down the road
    that runs alongside it comes a German staff car.

    71. INT. STAFF CAR - MOVING - DAY 71.

    In the backseat, Untersturmfuhrer Amon Goeth pulls on a flask
    of schnapps. His age and build are about that of
    Schindler’s; his face open and pleasant.

    GOETH
    Make a nice driveway.

    The other SS officers in the car - Knude, Haase and Hujar -
    aren’t sure what he means. He’s peering out the window at
    the tombstones.

    72. EXT. GHETTO - DAY 72.

    The staff car passes through the portals of the ghetto and
    down the trolley lines of Lwowska Street.
    50.


    73. INT. STAFF CAR - MOVING - DAY 73.

    As the car slowly cruises through the ghetto, Knude, like a
    tour guide, briefs the new man, Goeth -

    KNUDE
    This street divides the ghetto just about
    in half. On the right - Ghetto A: civil
    employees, industry workers, so on. On
    the left, Ghetto B: surplus labor, the
    elderly mostly. Which is where you’ll
    probably want to start.

    The look Goeth gives Knude tells him to refrain, if he would,
    from offering tactical opinions.

    KNUDE
    Of course that’s entirely up to you.
    Genres: ["Drama","War"]

    Summary In this scene, a group of Jewish jewelers are forced to sort and grade jewelry under SS guard, including gold teeth smeared with blood. Meanwhile, Untersturmfuhrer Amon Goeth tours the ghetto in a staff car and receives a briefing on the different sections of the ghetto. The tone is somber and tense, with the jewelers facing oppression and the staff car cruising through the ghetto. The scene ends with the staff car continuing its drive through the ghetto.
    Strengths
    • Effective portrayal of the harsh reality of the ghetto
    • Strong emotional impact
    • Well-developed characters
    Weaknesses
    • Lack of standout dialogue

    Ratings
    Overall

    Overall: 9

    The scene effectively portrays the bleakness and despair of the ghetto, while also showing Schindler's internal conflict and his evolving character. The tension and emotional impact are high, and the scene moves the story forward by deepening the audience's understanding of the characters and the setting.


    Story Content

    Concept: 8

    The concept of the scene, which focuses on the dehumanizing conditions in the ghetto and Schindler's growing empathy, is well-executed. It effectively conveys the themes of the film and adds depth to the overall story.

    Plot: 8

    The plot of the scene revolves around Schindler witnessing the dehumanization of the workers and his interactions with them. It adds to the overall narrative by showing Schindler's increasing involvement and emotional investment in their plight.

    Originality: 8

    This scene demonstrates a level of originality through its portrayal of the mechanics garage as a front for illegal activities and the inclusion of Jewish jewelers under SS guard. The authenticity of the characters' actions and dialogue adds to the originality.


    Character Development

    Characters: 9

    The characters in the scene, particularly Schindler, Stern, and the workers, are well-developed and their emotions and motivations are effectively portrayed. The scene deepens the audience's connection to the characters and their struggles.

    Character Changes: 9

    Schindler undergoes a significant character change in the scene, as he becomes more empathetic and determined to help the workers. This change is evident in his interactions and reactions throughout the scene.

    Internal Goal: 7

    The protagonist's internal goal in this scene is not explicitly stated, but it can be inferred that they are trying to survive and navigate the dangerous environment they are in.

    External Goal: 8

    The protagonist's external goal in this scene is to successfully sort and process the items they are handling without drawing attention or making any mistakes.


    Scene Elements

    Conflict Level: 8

    The conflict in the scene is primarily internal, as Schindler grapples with his own emotions and the moral implications of his actions. There is also an external conflict between the workers and the SS officers, which adds tension to the scene.

    Opposition: 9

    The opposition in this scene is strong, as the protagonist is faced with the challenge of sorting and processing items under the watchful eye of the SS guard. The audience is unsure of how the protagonist will navigate this dangerous situation.

    High Stakes: 7

    The stakes in the scene are relatively high, as Schindler's actions and decisions have the potential to impact the lives of the workers. However, the immediate consequences are not explicitly shown.

    Story Forward: 8

    The scene moves the story forward by deepening the audience's understanding of the characters and their motivations. It also sets up future conflicts and developments.

    Unpredictability: 7

    This scene is unpredictable because it introduces the presence of Jewish jewelers under SS guard, which adds a layer of complexity and uncertainty to the situation.

    Philosophical Conflict: 9

    There is a philosophical conflict evident in this scene between the oppressive Nazi regime and the Jewish jewelers who are forced to work under their guard. This challenges the protagonist's beliefs and values as they are forced to participate in illegal activities to survive.


    Audience Engagement

    Emotional Impact: 10

    The scene has a high emotional impact, evoking feelings of sadness, frustration, and discomfort. The audience is deeply affected by the dehumanization of the workers and Schindler's internal struggle.

    Dialogue: 7

    The dialogue in the scene is concise and impactful. It effectively conveys the characters' emotions and motivations, but there are no particularly memorable or standout lines.

    Engagement: 9

    This scene is engaging because it introduces a dangerous and tense environment, with characters involved in illegal activities. The minimal dialogue and descriptive language create a sense of suspense and intrigue.

    Pacing: 8

    The pacing of the scene contributes to its effectiveness by creating a sense of tension and suspense. The concise descriptions and minimal dialogue maintain a steady rhythm.


    Technical Aspect

    Formatting: 9

    The formatting of this scene follows the expected format for its genre, with clear scene headings and concise descriptions.

    Structure: 9

    The structure of this scene follows the expected format for its genre, effectively establishing the setting and introducing the characters and their goals.


    Critique
    • The scene shift from the previous one is quite abrupt, with the last image of the luggage becoming black and white transitioning to the mechanics garage scene which is also in black and white. This could be confusing for the reader and it would be helpful to have a more clear transition.
    • The mechanics garage scene is quite detailed and descriptive, which is good, but it feels like it could be part of a different story or subplot given the lack of connection to the main characters so far.
    • The introduction of Untersturmfuhrer Amon Goeth in the following scene is done well, with a good description of his appearance and demeanor. However, the scene shift from the mechanics garage to Goeth in the staff car is quite sudden and could benefit from a more clear transition.
    • The dialogue in the staff car scene is well written and gives a good sense of Goeth's character. However, the scene is quite short and it feels like it could benefit from further development to give a better sense of the setting and the other characters in the car.
    Suggestions
    • Consider adding a clearer transition from the previous scene to the mechanics garage scene to avoid confusion for the reader.
    • Think about how the mechanics garage scene connects to the main plot and characters. If it doesn't, it might be better to cut it or move it to a different part of the story.
    • Consider expanding the staff car scene to give a better sense of the setting and the other characters in the car. This could help to further develop Goeth's character and give a better sense of the world the characters inhabit.
    • Consider adding more description of the ghetto as the staff car passes through it to give a better sense of the setting and the conditions the characters are living in.



    Scene 14 -  Brutal Order
    74. EXT. PLASZOW FORCED LABOR SITE - DAY 74.

    Outside of town, a previously abandoned limestone quarry lies
    nestled between two hills. The stone and brick buildings
    look like they’ve been here forever; the wooden structures,
    those that are up, are built of freshly-cut lumber.

    There’s a great deal of activity. New construction and
    renovation - foundations being poured, rail tracks being
    laid, fences and watchtowers going up, heavy segments of huts
    - wall panels, eaves sections - being dragged uphill by teams
    of bescarved women like some ancient Egyptian industry.

    Goeth surveys the site from a knoll, clearly pleased with it.
    But then he’s distracted by voices - a man’s, a woman’s -
    arguing down where some barracks are being erected.

    The woman breaks off the dialog with a disgusted wave of her
    hand and stalks back to a half-finished barracks. The man,
    one from the car, Hujar, sees Goeth, Knude and Haase coming
    down the hill and moves to meet them.
    51.


    HUJAR
    She says the foundation was poured wrong,
    she’s got to take it down. I told her
    it’s a barracks, not a fucking hotel,
    fucking Jew engineer.

    Goeth watches the woman moving around the shell of the
    building, pointing, directing, telling the workers to take it
    all down. he goes to take a closer look. She comes over.

    ENGINEER
    The entire foundation has to be dug up
    and repoured. If it isn’t, the thing
    will collapse before it’s even completed.

    Goeth considers the foundation as if he knew about such
    things. He nods pensively. Then turns to Hujar.

    GOETH
    (calmly)
    Shoot her.

    It’s hard to tell which is more stunned by the order, the
    woman or Hujar. Both stare at Goeth in disbelief. He gives
    her the reason along with a shrug -

    GOETH
    You argued with my man.
    (to Hujar)
    Shoot her.

    Hujar unholsters his pistol but holds it limply at his side.
    The workers become aware of what’s happening and still their
    hammers.

    HUJAR
    Sir…

    Goeth groans and takes the gun from him and puts it to the
    woman’s head. Calmly to her -

    GOETH
    I’m sure you’re right.
    52.


    He fires. She crumples to the ground. He returns the gun to
    his stunned inferior and, gesturing down at the body,
    addresses the workers.

    GOETH
    That’s somebody who knew what they were
    doing. That’s somebody I needed.
    (pause)
    Take it down, repour it, rebuild it, like
    she said.

    He turns and walks away.
    Genres: ["Drama","War"]

    Summary At the Plaszow forced labor site, Goeth surveys the construction and renovation happening. He becomes angry when a woman argues with his man about the foundation of a barracks. Goeth orders the woman to be shot and then instructs the workers to follow her instructions. The scene ends with Goeth walking away after ordering the workers to rebuild the barracks.
    Strengths
    • Powerful portrayal of the Holocaust atrocities
    • Strong character development for Amon Goeth
    • Emotionally impactful scene
    Weaknesses

      Ratings
      Overall

      Overall: 9

      The scene is highly impactful and effectively conveys the horrors of the Holocaust. It showcases the power dynamics and the callousness of the SS officers, leaving a lasting impression on the audience.


      Story Content

      Concept: 8

      The concept of portraying the atrocities committed during the Holocaust is powerful and thought-provoking. It sheds light on the inhumanity of the Nazi regime and the abuse of power.

      Plot: 7

      The plot in this scene focuses on the introduction of Amon Goeth and his brutal nature. It adds depth to the overall story by highlighting the challenges faced by the Jewish workers and the constant threat they live under.

      Originality: 6

      The level of originality in this scene is moderate. While the setting of a forced labor site during World War II is not entirely unique, the specific actions and dialogue of the characters, such as the order to shoot the woman engineer, add a fresh and unexpected element. The authenticity of the characters' actions and dialogue contributes to the originality of the scene.


      Character Development

      Characters: 9

      The characters in this scene, particularly Amon Goeth, are well-developed and evoke strong emotions in the audience. Goeth's sadistic behavior and abuse of power make him a memorable and terrifying antagonist.

      Character Changes: 7

      While there is not a significant character change in this scene, it establishes Amon Goeth as a ruthless and sadistic character, setting the stage for his arc throughout the film.

      Internal Goal: 8

      The protagonist's internal goal in this scene is not explicitly stated, but it can be inferred that Goeth, the character giving the order to shoot the woman, wants to maintain control and assert his power over the workers and his subordinates. This reflects his deeper need for dominance and his desire to instill fear in others.

      External Goal: 7

      The protagonist's external goal in this scene is to have the foundation of the barracks taken down and repoured, as instructed by the woman engineer. This goal reflects the immediate circumstances and challenges of constructing the labor site and ensuring its stability.


      Scene Elements

      Conflict Level: 9

      The conflict in this scene is intense and disturbing. It showcases the power struggle between Amon Goeth and the Jewish engineer, resulting in a shocking act of violence.

      Opposition: 9

      The opposition in this scene is strong, as the order to shoot the woman engineer creates a significant obstacle for the other characters. The audience is unsure of how the situation will unfold and what the consequences will be.

      High Stakes: 10

      The stakes in this scene are incredibly high as it involves the execution of a character and highlights the constant threat faced by the Jewish workers. It emphasizes the life-and-death consequences of their actions.

      Story Forward: 8

      The scene contributes to the overall story by introducing Amon Goeth and establishing the oppressive and dangerous environment for the Jewish workers. It adds depth to the narrative and sets up future conflicts.

      Unpredictability: 8

      This scene is unpredictable because the order to shoot the woman engineer comes as a surprise and goes against the audience's expectations. The unpredictability adds to the tension and keeps the audience engaged.

      Philosophical Conflict: 7

      There is a philosophical conflict evident in this scene between Goeth's belief in his own power and authority, and the woman engineer's belief in the importance of proper construction. This conflict challenges Goeth's values and worldview, as he ultimately chooses to assert his dominance and disregard the woman's expertise.


      Audience Engagement

      Emotional Impact: 10

      The scene elicits strong emotions from the audience, evoking feelings of fear, disgust, and outrage. The execution of the Jewish engineer is a deeply disturbing moment that leaves a lasting impact.

      Dialogue: 7

      The dialogue in this scene effectively conveys the power dynamics and the brutality of the situation. It showcases Goeth's callousness and the fear of the workers.

      Engagement: 9

      This scene is engaging because it presents a morally challenging situation and creates tension through the unexpected order to shoot the woman engineer. The actions and dialogue of the characters hold the audience's attention and create a sense of anticipation.

      Pacing: 8

      The pacing of the scene contributes to its effectiveness by gradually building tension through the dialogue and actions of the characters. The pacing allows for moments of anticipation and reflection, while also maintaining a sense of urgency.


      Technical Aspect

      Formatting: 9

      The formatting of this scene follows the expected format for its genre. It is properly formatted with scene headings, action lines, and dialogue.

      Structure: 8

      The structure of this scene follows the expected format for its genre. It begins with a description of the setting, introduces the characters and their actions, and concludes with a significant event that drives the narrative forward.


      Critique
      • The scene is very descriptive and vivid, allowing the reader to easily visualize the setting and events taking place.
      • The dialogue is natural and believable, and it effectively reveals the characters' personalities and motivations.
      • The tension and conflict in the scene is palpable, and the stakes are clear.
      • The character of Goeth is well-established as a ruthless and powerful figure who demands obedience.
      Suggestions
      • Consider adding more context or background information about the forced labor site and the characters' roles within it to help the reader better understand the scene.
      • Consider adding more internal thoughts or emotions from the characters, particularly the woman engineer, to make the scene more impactful and emotionally resonant.
      • Consider adding more sensory details, such as sounds, smells, or textures, to make the scene more immersive and engaging.
      • Consider adding more consequences or repercussions for Goeth's actions to increase the stakes and tension in the scene.



      Scene 15 -  Dawn in Cracow
      75. EXT. STABLES - DAWN 75.

      Stable boys lead two horses into the pre-dawn light. The
      animals’ hoofs shatter tufts of weeds like fingers of glass;
      fog plumes from their nostrils.

      76. EXT. PARK, CRACOW - DAWN 76.

      In addition to the exhaust from idling trucks and the curling
      smoke from the Sonderkommando units’ cigarettes, there is
      excitement in the chilly pre-dawn air.

      77. EXT. GHETTO - DAWN 77.

      An empty street. Rooftops against a lightening sky. A few
      of the windows in the buildings are lighted, glowing amber;
      the majority are still dark.

      78. EXT. STABLES - DAWN 78.

      The stable boys hoist saddles onto the horses, cinch the
      straps. Leaning against the hood of the Mercedes, Schindler
      and Ingrid, in long hacking jackets, riding breeches and
      boots, share cognac from his flask.
      53.


      79. EXT. PARK, CRACOW - DAWN 79.

      Untersturmfuhrer Goeth, soon to be Commandant Goeth, stands
      before the assembled troops with a flask of cognac in his
      hand. He looks out over them proudly; they’re good boys,
      these, the best. He addresses them -

      GOETH
      Today is history. The young will ask
      with wonder about this day Today is
      history and you are a part of it.

      80. EXT. PEACE SQUARE, GHETTO - DAWN 80.

      A fourteen year old kid hurries across to the square pulling
      on his O.D. armband. Several others of the Jewish Ghetto
      Police, Golberg among them, are already assembled there. The
      clerks, the list makers, scissor open their folding tables,
      set out their ink pads and stamps.

      GOETH (V.O.)
      When, elsewhere, they were footing the
      blame for the Black Death, Kazimierz the
      Great, so called, told the Jews they
      could come to Cracow. They came.

      81. EXT. STABLES - DAWN 81.

      Ingrid climbs onto one of the horses, Schindler onto the
      other. As the animals gallop away with their riders toward a
      wood, the stable boys wave.

      GOETH (V.O.)
      They trundled their belongings into this
      city, they settled, they took hold, they
      prospered.

      82. EXT. PARK, CRACOW - DAWN 82.

      The fresh young faces of the Sonderkommandos, listening to
      their commander.
      54.


      GOETH
      For six centuries, there has been a
      Jewish Cracow.

      83. EXT. WOODS - DAWN 83.

      The horses panting hard. Their hoofs hammering at the
      ground, climbing a hill. Riding boots kicking at their
      flanks.

      84. EXT. PARK, CRACOW - DAWN 84.

      The boots of Amon Goeth slowly pacing. He stops. Tight on
      his face, smiling pleasantly.

      GOETH
      By this weekend, those six centuries,
      they’re a rumor. They never happened.
      Today is history.

      85. EXT. HILLTOP CLEARING - DAWN 85.

      The galloping horses break through to a clearing high on a
      hill. The riders pull in the reins and the hoofs rip at the
      earth.

      Schindler smiles at the view, the beauty of it with the sun
      just coming up. From here, all of Cracow can be seen in
      striking relief, like a model of a town.

      He can see the Vistula, the river that separates the ghetto
      from Kazimierz; Wawel Castle, from where the National
      Socialist Party’s Hans Frank rules the Government General of
      Poland; beyond it, the center of town.

      He begins to notice refinements: the walls that define the
      ghetto; Peace Square, the assembly of men and boys. He
      notices a line of trucks rolling east across the Kosciuscko
      Bridge, and another across the bridge at Podgorze, a third
      along Zablocie Street, all angling in on the ghetto like
      spokes to a hub.
      55.
      Genres: ["Drama","War"]

      Summary In this scene, stable boys lead horses into the pre-dawn light at the stables while Ingrid and Schindler share cognac. Untersturmfuhrer Goeth addresses his troops in the park, and a young boy joins the Jewish Ghetto Police. Ingrid and Schindler ride their horses towards a wood as Goeth speaks about the history of Jewish Cracow. The scene ends with Schindler and Ingrid reaching a hilltop clearing and admiring the view of Cracow.
      Strengths
      • Powerful juxtaposition of beauty and darkness
      • Effective establishment of setting and tone
      • Foreshadowing of conflict
      Weaknesses
      • Minimal character development
      • Limited dialogue

      Ratings
      Overall

      Overall: 9

      The scene effectively sets the tone for the rest of the film, establishing the historical context and the impending danger faced by the Jewish population. The juxtaposition of the serene dawn with the presence of the SS officer creates a sense of tension and foreboding.


      Story Content

      Concept: 8

      The concept of contrasting beauty and darkness is executed well in this scene, creating a powerful visual and emotional impact.

      Plot: 7

      The plot in this scene primarily serves to establish the setting and the impending conflict. It effectively introduces the character of Amon Goeth and foreshadows the challenges faced by the Jewish population.

      Originality: 7

      The level of originality in this scene is moderate. While the setting and themes of World War II and the Holocaust have been explored in many films, the specific details and perspectives presented in this scene offer a fresh approach. The authenticity of the characters' actions and dialogue adds to the originality.


      Character Development

      Characters: 7

      The characters in this scene are not fully developed, but they serve their purpose in establishing the setting and the conflict. Amon Goeth is introduced as a menacing figure, while Schindler is shown as a more sympathetic character.

      Character Changes: 6

      There is minimal character development in this scene, but it sets the stage for the transformation of Schindler as he becomes more involved in saving Jewish lives.

      Internal Goal: 8

      The protagonist's internal goal in this scene is not explicitly stated, but it can be inferred that Schindler's internal goal is to protect and save as many Jewish people as possible from the atrocities of the Holocaust. This reflects his deeper need for redemption, his fear of being complicit in the genocide, and his desire to make a positive impact in a time of great darkness.

      External Goal: 7

      The protagonist's external goal in this scene is not explicitly stated, but it can be inferred that Schindler's external goal is to continue his business operations and maintain his cover as a member of the Nazi party. This reflects the immediate circumstances and challenges he's facing, as he needs to balance his secret mission of saving Jewish lives with his public persona as a supporter of the regime.


      Scene Elements

      Conflict Level: 7

      The conflict in this scene is primarily implied, with the presence of Amon Goeth and the foreshadowing of the impending violence. The tension is palpable, but the actual conflict has not yet escalated.

      Opposition: 9

      The opposition in this scene is strong, as it presents the conflicting values and goals of the protagonist and antagonist. The audience is unsure of how the power dynamics will play out and what obstacles the protagonist will face in achieving his goals.

      High Stakes: 9

      The stakes are high in this scene, as the Jewish population is facing imminent danger and the viewer is left with a sense of urgency and anticipation.

      Story Forward: 7

      The scene moves the story forward by establishing the setting, introducing new characters, and foreshadowing the conflict to come. It sets the stage for the events that will unfold in the rest of the film.

      Unpredictability: 8

      This scene is unpredictable because it introduces conflicting elements and raises questions about the characters' motivations and actions. The audience is unsure of how the events will unfold and what choices the protagonist will make.

      Philosophical Conflict: 9

      There is a philosophical conflict evident in this scene between the values of humanity and compassion represented by Schindler and the values of power and control represented by Goeth. This conflict challenges Schindler's beliefs and values, as he must navigate the dangerous territory of Nazi-occupied Poland while trying to save as many lives as possible.


      Audience Engagement

      Emotional Impact: 8

      The scene evokes a strong emotional response through its juxtaposition of beauty and darkness, and the impending danger faced by the Jewish population. The viewer is left with a sense of unease and anticipation.

      Dialogue: 6

      The dialogue in this scene is minimal, with most of the information conveyed through visuals and voiceover. However, the dialogue that is present effectively conveys the tone and establishes the historical context.

      Engagement: 9

      This scene is engaging because it presents a compelling conflict, creates a sense of urgency and tension, and introduces intriguing characters and settings. The reader is drawn into the story and wants to know more about the protagonist's journey.

      Pacing: 8

      The pacing of the scene contributes to its effectiveness by alternating between moments of quiet reflection and moments of tension and action. This creates a rhythm that keeps the reader engaged and interested in the unfolding events.


      Technical Aspect

      Formatting: 9

      The formatting of this scene follows the expected format for its genre. It uses clear headings and concise descriptions to guide the reader and create a visual representation of the scene.

      Structure: 9

      The structure of this scene follows the expected format for its genre. It effectively transitions between different locations and characters, building tension and conveying important information.


      Critique
      • The scene lacks clear focus and purpose. It jumps between different locations and characters without a cohesive narrative thread.
      • The descriptions are overly detailed and lack emotional impact. The scene fails to engage the reader or convey a sense of tension or urgency.
      • The dialogue feels generic and lacks depth. It does not reveal much about the characters or advance the plot.
      • The visual elements are not utilized effectively to enhance the storytelling.
      • The scene lacks a clear conflict and resolution, making it feel disjointed and incomplete.
      Suggestions
      • Simplify the scene by focusing on one location and a smaller number of characters.
      • Create a clear objective or conflict for the characters to drive the scene forward.
      • Revise the descriptions to evoke a stronger emotional response and engage the reader.
      • Develop the dialogue to reveal more about the characters' motivations and relationships.
      • Utilize visual elements to enhance the storytelling and create a more immersive experience.
      • Ensure the scene has a clear beginning, middle, and end, with a conflict and resolution.



      Scene 16 -  The Violent Evacuation
      85. EXT. GHETTO - DAY 85.

      The wheels of the last truck clear the portals at Lwowska
      Street and the Sonderkommandos jump down.

      86. INT. APARTMENT BUILDINGS - DAWN 86.

      Families are routed from their apartments. An appeal to be
      allowed to pack is answered with a rifle butt; an unannounced
      move to a desk drawer is countered with a shot.

      87. EXT. STREETS, GHETTO - DAWN 87.

      Spilling out of the buildings, they’re herded into lines
      without regard to family consideration; some other
      unfathomable system is at work here. The wailing protests of
      a woman to join her husband’s line are abruptly cut off by a
      short burst of gunfire.

      88. EXT. HILLTOP - DAWN 88.

      From here, the action down below seems staged, unreal; the
      rifle bursts no louder than caps. Dismounting, Schindler
      moves closer to the edge of the hill, curious.

      His attention is drawn to a small distant figure, all in red,
      at the rear of one of the many columns.

      89. EXT. STREET - DAWN 89.

      Small red shoes against a forest of gleaming black boots. A
      Waffen SS man occasionally corrects the little girl’s drift,
      fraternally it seems, nudging her gently back in line with
      the barrel of his rifle. A volley of shots echoes from up
      the street.

      90. EXT. HILLTOP - DAWN 90.

      Schindler watches as the girl slowly wanders away unnoticed
      by the SS. Against the grays of the buildings and street
      she’s like a moving red target.
      56.


      91. EXT. STREET - DAWN 91.

      A truck thundering down the street obscures her for a moment.
      Then she’s moving past a pile of bodies, old people executed
      in the street.

      92. EXT. HILLTOP - DAWN 92.

      Schindler watches: she’s so conspicuous, yet she keeps moving
      - past crowds, past dogs, past trucks - as though she were
      invisible.

      93. EXT. STREET - DAWN 93.

      Patients in white gowns, and doctors and nurses in white, are
      herded out the doors of a convalescent hospital. The small
      figure in red moves past them. Shots explode behind her.

      94. EXT. HILLTOP - DAWN 94.

      Short bursts of light flash throughout the ghetto like stars.
      Schindler, fixated on the figure in red, loses sight of her
      as she turns a corner.

      95. INT. APARTMENT BUILDING - DAWN 95.

      She climbs the stairs. The building is empty. She steps
      inside an apartment and moves through it. It’s been
      ransacked. As she crawls under the bed, the scene DRAINS of
      COLOR.

      The gunfire outside sounds like firecrackers.

      96. EXT. HILLTOP - NIGHT 96.

      NIGHT Silence. Schindler and Ingrid are gone.

      Below, the ghetto lies like a void within the city, its
      perimeter and interior clearly distinguishable by darkness.
      Outside it, the lights of the rest of Cracow glimmer.
      57.


      97. INT. D.E.F. FACTORY - NIGHT 97.

      Tables and tools and enamelware scrap. The metal presses and
      lathes, still. The firing ovens, cold. The gauges at zero.

      Against the wall of windows overlooking the empty factory
      floor stands a figure, Schindler, in silhouette against the
      glass, black against white, not moving, just staring down.

      98. EXT. FOREST - PLASZOW - MORNING 98.

      Bloody wheelbarrows, stark against the tree line of a forest
      above the completed forced labor camp, PLASZOW.

      99. EXT. PLASZOW FORCED LABOR CAMP - MORNING 99.

      Names on lists. Names called out. Tight on faces.

      Goldberg at one of several folding tables. The gangster-
      turned-ghetto-cop is now the Lord of Lists inside Plaszow.
      He and other listmakers call out names, accounting for those
      thousands who survived the liquidation of the ghetto and now
      stand before them in long straight rows.

      100. INT. GOETH’S BEDROOM, PLASZOW - MORNING 100.

      Amon Goeth stirs, wakes, glances at the woman asleep beside
      him. Hungover, he drags himself slowly out of bed.

      101. EXT. GOETH’S BALCONY - MOMENTS LATER - 101.

      MORNING.

      Goeth steps out onto the balcony in his undershirt and shorts
      and peers out across the labor camp, his labor camp, his
      kingdom. Satisfied with it, even amazed, he’s reminiscent of
      Schindler looking down on his kingdom, his factory, as he
      loves to do, from his wall of glass.

      Life is great. Goeth reaches for a rifle.
      58.
      Genres: ["Drama","War"]

      Summary In this scene, the Sonderkommandos jump down from the last truck in the ghetto as families are forcefully evacuated from their apartments. Those who resist are shot. The people are herded into lines without regard to family ties. Amidst the chaos, Schindler notices a small girl in red at the rear of one of the columns. Guided by a Waffen SS man, she moves past a pile of executed bodies, unnoticed by the SS. Shots explode behind her as she climbs into an empty apartment and hides under a bed. The scene ends with the small girl in red hidden, but the conflict remains unresolved.
      Strengths
      • Powerful emotional impact
      • Effective portrayal of the horrors of the Holocaust
      • Strong contrast between the hilltop and the ghetto
      Weaknesses
      • Limited character development
      • Minimal dialogue

      Ratings
      Overall

      Overall: 9

      The scene is highly impactful and emotionally charged, effectively conveying the atrocities committed during the liquidation of the ghetto. The contrast between the serene hilltop and the violent events in the ghetto creates a powerful juxtaposition.


      Story Content

      Concept: 8

      The concept of the scene, portraying the liquidation of the ghetto and the indifference of the SS officers towards the suffering of the Jewish population, is executed effectively. It highlights the dehumanization and brutality of the Holocaust.

      Plot: 8

      The plot of the scene revolves around the liquidation of the ghetto and the contrasting experiences of Schindler and the Jewish population. It effectively portrays the escalating tension and the dire circumstances faced by the Jewish people.

      Originality: 9

      The level of originality in this scene is high. The situation of a ghetto during World War II is a familiar one, but the writer brings a fresh approach by focusing on the perspective of a curious observer, Schindler, who is not directly involved in the conflict. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


      Character Development

      Characters: 7

      The characters in the scene, particularly Schindler and Amon Goeth, represent opposing sides of the conflict. Schindler's empathy and concern for the Jewish people are juxtaposed with Goeth's indifference and cruelty. However, the scene focuses more on the events rather than individual character development.

      Character Changes: 7

      While there are no significant character changes in the scene, it highlights the stark contrast between the empathetic and compassionate nature of Schindler and the callousness of Amon Goeth.

      Internal Goal: 8

      The protagonist's internal goal in this scene is not explicitly stated, but it can be inferred that Schindler is curious about the small figure in red and wants to understand why she is able to move unnoticed in such a dangerous environment. This reflects his deeper desire to protect and save as many people as possible.

      External Goal: 7

      The protagonist's external goal in this scene is not explicitly stated, but it can be inferred that Schindler wants to observe the events in the ghetto and gather information about the situation. This reflects the immediate circumstances and challenges he is facing as a businessman trying to navigate the war.


      Scene Elements

      Conflict Level: 9

      The conflict in the scene is intense and pervasive. It is depicted through the violent actions of the SS officers, the resistance of the Jewish people, and the contrasting experiences of Schindler and the ghetto inhabitants.

      Opposition: 7

      The opposition in this scene is not strong, as the protagonist is mainly observing and not directly involved in any conflict. However, the presence of the Waffen SS and the oppressive system creates a sense of opposition and danger.

      High Stakes: 10

      The stakes in the scene are incredibly high, as the lives of the Jewish population are at risk during the liquidation of the ghetto. The brutal actions of the SS officers and the imminent danger faced by the characters create a sense of urgency and tension.

      Story Forward: 8

      The scene moves the story forward by depicting the escalating conflict and the worsening conditions for the Jewish population. It sets the stage for the subsequent events and the development of Schindler's character.

      Unpredictability: 7

      This scene is unpredictable because it presents a situation where the protagonist's curiosity and the small figure in red create a sense of mystery and uncertainty. The reader does not know what will happen next or how the protagonist's actions will impact the unfolding events.

      Philosophical Conflict: 9

      There is a philosophical conflict evident in this scene between the values of compassion and cruelty. The protagonist, Schindler, represents compassion and the desire to save lives, while the Waffen SS and the oppressive system represent cruelty and the disregard for human life. This conflict challenges Schindler's beliefs and values, as he witnesses the atrocities committed by the SS.


      Audience Engagement

      Emotional Impact: 10

      The scene has a profound emotional impact, evoking feelings of sadness, shock, and horror. The brutal treatment of the Jewish population and the contrast between the peaceful hilltop and the violence in the ghetto elicit strong emotional responses from the audience.

      Dialogue: 6

      The dialogue in the scene is minimal, with most of the impact conveyed through actions and visuals. The few lines of dialogue that are present serve to emphasize the power dynamics and the callousness of the SS officers.

      Engagement: 9

      This scene is engaging because it creates a sense of suspense and intrigue. The reader is drawn into the protagonist's perspective and wants to know more about the small figure in red and the events unfolding in the ghetto. The concise and vivid descriptions keep the reader's attention and evoke emotions.

      Pacing: 8

      The pacing of the scene contributes to its effectiveness by creating a sense of tension and urgency. The short and concise scenes, combined with the vivid descriptions, keep the reader engaged and maintain a fast pace. The scene transitions are smooth and help to maintain the momentum.


      Technical Aspect

      Formatting: 9

      The formatting of this scene follows the expected format for its genre. The scene headings, action lines, and dialogue are properly formatted and easy to follow. The use of capitalization and punctuation is consistent and appropriate.

      Structure: 8

      The structure of this scene follows the expected format for its genre. It begins with an establishing shot of the location, followed by a series of short and concise scenes that build tension and convey the protagonist's perspective. The scene transitions smoothly and effectively.


      Critique
      • The scene effectively portrays the chaos and brutality of the ghetto liquidation, with the use of sensory details and vivid imagery to convey the horror of the situation.
      • The use of the little girl in red as a visual motif is an effective way to highlight the senseless violence and tragedy of the event.
      • The scene could benefit from more dialogue or internal thoughts from Schindler to give insight into his emotional state and motivations.
      • The transition from dawn to night in the hilltop shots is abrupt and could be smoother to emphasize the passage of time and Schindler's increasing fixation on the girl.
      • The scene could also benefit from more context about the liquidation and the significance of the event in the narrative.
      • The parallel between Schindler's observation of the ghetto and Goeth's later view from his balcony is an effective way to compare and contrast their characters.
      Suggestions
      • Add more dialogue or internal thoughts from Schindler to give insight into his emotional state and motivations.
      • Smooth out the transition from dawn to night in the hilltop shots to emphasize the passage of time and Schindler's increasing fixation on the girl.
      • Provide more context about the liquidation and the significance of the event in the narrative.
      • Consider adding a moment of realization or reflection for Schindler to show his growing awareness of the gravity of the situation and his role in it.
      • Add more sensory details and vivid imagery to convey the horror of the liquidation and the emotional impact on Schindler.
      • Emphasize the parallel between Schindler's observation of the ghetto and Goeth's later view from his balcony to compare and contrast their characters.



      Scene 17 -  Tension and Amusement at Plaszow Quarry Camp
      103. EXT. PLASZOW SAME TIME - MORNING 103.

      Workers loading quarry rock onto trolleys under Ukrainian
      guard and a low morning sun. Every so often, one glances
      with anticipation to the balcony of Goeth’s “villa” - which
      is in fact nothing more than a two-story stone house perched
      on a slight rise in the dry landscape.

      104. EXT. GOETH’S BALCONY - CONTINUED - MORNING 104.

      The butt of the rifle against his shoulder, Goeth aims down
      at the quarry - at this worker, at that one -
      indiscriminately, inscrutably. He fires a shot and a distant
      figure falls.

      105. INT. GOETH’S BEDROOM - SAME TIME - MORNING 105.

      The woman in bed groans at the echoing shot. She’s used to
      it but she still hates it; it’s such an awful way to be
      woken.

      MAJOLA
      (mutters)
      Amon … Christ …

      She buries her head under a pillow. Goeth reappears. He
      pads to his bathroom, goes inside and urinates.

      106. EXT. PLASZOW - DAY 106.

      Schindler’s Mercedes winds through the camp, past warehouses
      and workshops, trucks full of furs and furniture, work
      details, barracks, guard blocks. A man standing alone wears
      a sign around his neck - “I am a potato thief.”

      107. EXT. GOETH’S VILLA - PLASZOW - DAY 107.

      The Mercedes pulls in next to some other nice cars parked on
      a driveway made of tombstones from the Jewish cemetery.
      59.


      108. EXT. PATIO, GOETH’S VILLA - DAY 108.

      A patio table set with crystal, china, silver. Goeth and
      Hujar are there, in pressed SS uniforms, and two
      industrialists, Bosch and Madritsch. One chair is empty.

      HUJAR
      Your machinery will be moved and
      installed by the SS at no cost to you.
      You will pay no rent, no maintenance -

      Hujar glances off, interrupted by Schindler’s arrival.
      Although he’s never been here, the industrialist comes in
      like he owns the place. All but Goeth rise.

      SCHINDLER
      No, no, come on, sit -

      He works his way around the table, patting Bosch and
      Madritsch on the back - he knows them - shaking Hujar’s hand,
      who he doesn’t know. He reaches Goeth.

      SCHINDLER
      How you doing?

      Goeth takes a good long look at the handsomely dressed
      entrepreneur and allows him to shake his hand.

      GOETH
      We started without you.

      SCHINDLER
      Good.

      Schindler takes a seat, shakes a napkin onto his lap, nods to
      the servant holding out a bottle of champagne to him.

      SCHINDLER
      Please.

      Goeth watches him. The others watch Goeth.
      60.


      SCHINDLER
      I miss anything important?

      HUJAR
      I was explaining to Mr. Bosch and Mr.
      Madritsch some of the benefits of moving
      their factories into Plaszow.

      SCHINDLER
      Oh, good, yeah.

      Schindler clearly doesn’t care, but nods as though he did.
      He drinks. Goeth just watches him with what seems to be
      growing amusement. He nods to Hujar to continue.

      HUJAR
      Since your labor is housed on-site, it’s
      available to you at all times. You can
      work them all night if you want. Your
      factory policies, whatever they’ve been
      in the past, they’ll continue to be,
      they’ll be respected -

      Schindler laughs out loud, cutting Hujar off. Hujar glances
      over to Goeth nonplussed.

      SCHINDLER
      I’m sorry.

      He’s not sorry at all, and starts in on the plate of food
      that’s set down in front of him.

      GOETH
      You know, they told me you were going to
      be trouble - Czurda and Scherner.

      SCHINDLER
      You’re kidding.

      Goeth slowly shakes his head no … then smiles.
      61.


      GOETH
      He looks great, though, doesn’t he? I
      have to know - where do you get a suit
      like that? what is that, silk?
      (Schindler nods)
      It’s great.

      SCHINDLER
      I’d say I’d get you one but the guy who
      made it, he’s probably dead, I don’t
      know.

      He shrugs like, those are the breaks, too bad. Goeth just
      smiles. The others watch the two of them, unsure how they’re
      supposed to react.
      Genres: ["Drama","War"]

      Summary In this scene at Plaszow quarry camp, workers load quarry rock onto trolleys under Ukrainian guard while Goeth randomly shoots at them. Inside Goeth's bedroom, a woman groans at the sound of the shots. Schindler's Mercedes drives through the camp, passing various buildings and a man labeled as a 'potato thief.' The scene then shifts to Goeth's villa where Goeth, Hujar, Bosch, Madritsch, and Schindler sit at a patio table. Hujar discusses the benefits of moving factories to Plaszow, but Schindler shows disinterest. Goeth watches Schindler with amusement. The scene ends with Goeth and Schindler engaging in light banter about Schindler's suit.
      Strengths
      • Powerful portrayal of the Holocaust
      • Compelling power dynamics between characters
      • Effective use of tension and suspense
      Weaknesses
      • Limited character development in this specific scene

      Ratings
      Overall

      Overall: 9

      The scene is highly impactful and effectively conveys the tension and brutality of the Holocaust. The power dynamics between Goeth and Schindler are compelling, and the scene sets up the conflict and stakes for the rest of the story.


      Story Content

      Concept: 8

      The concept of contrasting characters and their interactions in a war-torn setting is well-executed. The scene introduces the audience to the complex dynamics between the SS officers and the Jewish workers.

      Plot: 9

      The plot progresses significantly in this scene, showcasing Goeth's sadistic nature and Schindler's ability to manipulate him. The scene also sets up the conflict between the SS officers and the Jewish workers.

      Originality: 7

      The level of originality in this scene is moderate. While the setting and themes of World War II and the Holocaust have been explored in many films, the specific dynamics between the characters and the portrayal of the labor camp provide a fresh perspective. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


      Character Development

      Characters: 9

      The characters of Amon Goeth and Oskar Schindler are well-developed and their contrasting personalities create tension and intrigue. Goeth's sadistic nature and Schindler's cunning are effectively portrayed.

      Character Changes: 8

      While there is not a significant character change in this scene, it sets up the potential for character development in Schindler as he navigates the dangerous power dynamics.

      Internal Goal: 8

      The protagonist's internal goal in this scene is to establish a business relationship with Goeth and secure benefits for his factory. This goal reflects Schindler's desire to protect and save as many Jewish workers as possible, as well as his ambition to profit from the war.

      External Goal: 7

      The protagonist's external goal in this scene is to negotiate the terms of moving factories into Plaszow and secure favorable conditions for the industrialists. This goal reflects the immediate circumstances of the war and the challenges of operating a factory in a labor camp.


      Scene Elements

      Conflict Level: 9

      The conflict between Goeth and Schindler is intense and sets the stage for the larger conflict between the SS officers and the Jewish workers. The power dynamics and the threat of violence create a high level of tension.

      Opposition: 9

      The opposition in this scene is strong, as it involves conflicting goals, power dynamics, and moral values between the characters. The audience is unsure of how the negotiation will unfold and what the consequences will be.

      High Stakes: 10

      The stakes are incredibly high in this scene as the Jewish workers' lives are at risk and the power dynamics between Goeth and Schindler have the potential for deadly consequences.

      Story Forward: 9

      The scene moves the story forward by establishing the power dynamics, conflict, and stakes. It sets up the trajectory for Schindler's actions and the larger narrative of the Holocaust.

      Unpredictability: 7

      This scene is unpredictable because it introduces conflicting characters and their motivations, leaving the audience uncertain about the outcome of the negotiation and the fate of the workers.

      Philosophical Conflict: 9

      There is a philosophical conflict evident in this scene between Schindler's belief in the value of human life and Goeth's indifference and cruelty towards the workers. This conflict challenges Schindler's values and worldview, as he tries to navigate the morally ambiguous situation and find a way to save as many lives as possible.


      Audience Engagement

      Emotional Impact: 10

      The scene evokes strong emotions due to its depiction of the Holocaust and the brutal treatment of the Jewish workers. The audience feels a sense of fear, anger, and empathy for the characters.

      Dialogue: 8

      The dialogue is impactful and reveals the power dynamics between the characters. Schindler's witty remarks and Goeth's sadistic comments add depth to their personalities.

      Engagement: 9

      This scene is engaging because it presents a high-stakes negotiation between the protagonist and the antagonist, with underlying tension and moral dilemmas. The sparse dialogue and subtext create intrigue and keep the audience invested in the outcome.

      Pacing: 8

      The pacing of the scene contributes to its effectiveness by creating a slow and deliberate rhythm, allowing the tension and subtext to build. The pauses and reactions between the characters add to the dramatic impact.


      Technical Aspect

      Formatting: 9

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

      Structure: 8

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


      Critique
      • The scene transitions are abrupt and could be smoother to allow for a better understanding of the sequence of events.
      • The introduction of new characters, such as Bosch and Madritsch, could be clearer to help the reader follow the scene.
      • The dialogue could be tightened up to avoid repetition and to make the scene more engaging.
      • The tone of the scene is uneven, shifting from a business meeting to a more casual conversation, which could be confusing to the reader.
      Suggestions
      • Consider adding more descriptive language to help set the scene and provide context for the reader.
      • Make sure to clearly introduce new characters and provide enough information for the reader to understand their role in the scene.
      • Evaluate the dialogue to ensure that it is necessary and advances the plot or reveals character.
      • Establish a consistent tone for the scene to help the reader understand the mood and atmosphere.



      Scene 18 -  Duty and Financial Opportunity
      109. INT. GOETH’S OFFICE - PLASZOW - LATER - DAY 109.

      The others have gone. It’s just Goeth and Schindler now.
      Goeth pours glasses of cognac.

      GOETH
      Something wonderful’s happened, do you
      know what it is? Without planning it,
      we’ve reached that happy point in our
      careers where duty and financial
      opportunity meet.

      Schindler nods pensively, perhaps in agreement, perhaps at
      some other thought. There’s a silence, broken finally by -

      SCHINDLER
      I go to work the other day, there’s
      nobody there. Nobody tells me about
      this, I have to find out, I have to go
      in, everybody’s gone -

      GOETH
      They’re not gone, they’re here.

      SCHINDLER
      They’re mine!
      62.


      His voice echoes into silence. An acquiescent shrug from
      Goeth finally. And a nod; Schindler’s right.

      SCHINDLER
      Every day that goes by, I’m losing money.
      Every worker that is shot, costs me money
      - I have to get somebody else, I have to
      train them -

      GOETH
      We’re going to be making so much money,
      none of this is going to matter -

      SCHINDLER
      (cutting him off)
      It’s bad business.

      GOETH
      (shrugs)
      Some of the boys went crazy, what’re you
      going to do? You’re right, it’s bad
      business, but it’s over with, it’s done.
      (pause)
      Occasionally, sure, okay, you got to make
      an example. But that’s good business.

      Schindler pours himself another shot from the bottle, nurses
      it. He’s in a foul mood. They study each other, trying to
      determine perhaps who’s more powerful. Eventually -

      GOETH
      Scherner told me something else about
      you.

      SCHINDLER
      Yeah, what’s that?

      GOETH
      That you know the meaning of the word
      gratitude. That it’s not some vague
      thing with you like with some guys.
      63.


      SCHINDLER
      True.

      Goeth tries to put the situation in perspective:

      GOETH
      You want to stay where you are. You got
      things going on the side, things are
      good, you don’t want anybody telling you
      what to do - I can understand all that.
      (pause)
      What you want is your own sub-camp.

      Schindler admits it by not disagreeing. Goeth thinks about
      it, nods to himself again, then frowns.

      GOETH
      Do you have any idea what’s involved? The
      paperwork alone? Forget you got to build
      it all, getting the fucking permits,
      that’s enough to drive you crazy. Then
      the engineers show up. They stand around
      and they argue about drainage - I’m
      telling you, you’ll want to shoot
      somebody, I’ve been through it, I know.

      SCHINDLER
      Well, you’ve been through it. You know.
      You could make things easier for me.

      Goeth mulls it over, his shrug saying “maybe, maybe not.” A
      silence before -

      SCHINDLER
      I’d be grateful.

      There’s the word Goeth was waiting to hear.
      Genres: ["Drama","War"]

      Summary In this tense and confrontational scene, Goeth and Schindler discuss their careers, the absence of workers, the financial implications, and the possibility of Schindler having his own sub-camp. Schindler expresses frustration about losing money, while Goeth mentions the need to make examples occasionally. Schindler asks Goeth to make things easier for him, and the scene ends with Goeth's shrug indicating his consideration of the request.
      Strengths
      • Powerful dialogue
      • Tense atmosphere
      • Strong character dynamics
      Weaknesses
      • Limited physical action

      Ratings
      Overall

      Overall: 9

      The scene is highly impactful and effectively conveys the tension and power dynamics between the characters. The dialogue is sharp and thought-provoking, revealing the contrasting ideologies of Goeth and Schindler.


      Story Content

      Concept: 8

      The concept of the scene revolves around the clash of values and the negotiation of power between Goeth and Schindler. It effectively explores the moral dilemma faced by Schindler as he tries to balance his financial interests with his growing empathy for the Jewish workers.

      Plot: 7

      The plot of the scene focuses on the discussion between Goeth and Schindler regarding the establishment of a sub-camp. It serves as a turning point in their relationship and sets the stage for future conflicts and character development.

      Originality: 7

      The level of originality in this scene is moderate. While the setting of a concentration camp during World War II is not unique, the specific dynamics between the characters and the moral complexities they face add a fresh approach to the familiar situation. The authenticity of the characters' actions and dialogue contributes to the originality of the scene.


      Character Development

      Characters: 9

      The characters of Goeth and Schindler are well-developed and their contrasting personalities and motivations are effectively portrayed. Their interactions and dialogue reveal their complex dynamics and add depth to the scene.

      Character Changes: 8

      Schindler experiences a subtle change in his perspective as he confronts the consequences of his actions and begins to question the morality of his choices.

      Internal Goal: 8

      The protagonist's internal goal in this scene is to convince Goeth to allow him to build his own sub-camp. This goal reflects Schindler's desire to protect and save as many Jewish workers as possible, as well as his fear of losing money and the lives of the workers.

      External Goal: 7

      The protagonist's external goal in this scene is to negotiate with Goeth and convince him to make things easier for him by allowing him to build his own sub-camp. This goal reflects the immediate challenge of navigating the bureaucratic and logistical obstacles of building a sub-camp within the concentration camp.


      Scene Elements

      Conflict Level: 9

      The conflict in the scene is primarily internal, as Schindler grapples with his financial interests and growing empathy for the Jewish workers. There is also an underlying power struggle between Goeth and Schindler.

      Opposition: 8

      The opposition in this scene is strong as Schindler faces the challenge of convincing Goeth to allow him to build a sub-camp. The audience is unsure of how Goeth will respond, adding to the tension and conflict.

      High Stakes: 9

      The stakes in the scene are high as Schindler grapples with the moral implications of his actions and the potential consequences for the Jewish workers under his protection.

      Story Forward: 7

      The scene provides important character development and sets the stage for future conflicts and moral dilemmas. It deepens the understanding of the characters and their motivations.

      Unpredictability: 7

      This scene is unpredictable because it is unclear how Goeth will respond to Schindler's request. The audience is left wondering whether Schindler will succeed in convincing Goeth or face further obstacles.

      Philosophical Conflict: 9

      There is a philosophical conflict evident in this scene between Schindler's belief in the value of human life and Goeth's belief in the power and control of the Nazi regime. This conflict challenges Schindler's values and worldview, as he tries to navigate the moral complexities of working within the Nazi system.


      Audience Engagement

      Emotional Impact: 9

      The scene evokes strong emotions through its tense atmosphere, moral dilemmas, and the contrasting perspectives of the characters. It highlights the gravity of the situation and the human cost of their actions.

      Dialogue: 10

      The dialogue in the scene is sharp, impactful, and reveals the conflicting ideologies of the characters. It effectively conveys the tension and power dynamics between Goeth and Schindler.

      Engagement: 8

      This scene is engaging because it presents a high-stakes negotiation between two contrasting characters. The power dynamics, moral complexities, and the protagonist's goals create tension and intrigue for the audience.

      Pacing: 8

      The pacing of the scene contributes to its effectiveness by creating a sense of tension and anticipation. The dialogue and the pauses between the characters' lines allow for the audience to absorb the weight of the conversation.


      Technical Aspect

      Formatting: 9

      The formatting of this scene follows the expected format for its genre. It includes scene headings, character names, and dialogue formatted correctly. The use of white space and paragraph breaks also enhances the readability of the scene.

      Structure: 9

      The structure of this scene follows the expected format for its genre. It begins with a description of the setting, followed by dialogue between the characters, and ends with a significant revelation or moment of tension. This structure effectively conveys the conflict and development of the scene.


      Critique
      • The scene's dialogue is well-written and effectively conveys the power dynamic between Goeth and Schindler.
      • The pacing of the scene is somewhat slow, which may not effectively maintain the audience's attention.
      • The scene could benefit from more visual elements to break up the dialogue and add variety to the pacing.
      • The scene's emotional tone is somewhat uneven, as it starts off tense but becomes more conversational and less intense as it goes on.
      • The scene's connection to the previous scene could be made more explicit, as it is not immediately clear that this scene takes place after the previous one.
      Suggestions
      • Consider adding more visual elements to the scene to break up the dialogue and add variety to the pacing.
      • Consider raising the stakes or tension in the scene to maintain the audience's attention.
      • Consider clarifying the connection between this scene and the previous one to help the audience follow the narrative.
      • Consider adjusting the pacing of the scene to better match the emotional tone of the dialogue.
      • Consider adding more physicality or action to the scene to help convey the power dynamic between Goeth and Schindler.



      Scene 19 -  Increasing Security Measures
      110. EXT. D.E.F. SUBCAMP SITE - DAY 110.

      An SS surveyor, with even paces, measures a distance of the
      bare field adjacent to the factory. He sticks a little flag
      into the ground.
      64.


      111. EXT. D.E.F. SUBCAMP SITE - DAY 111.

      A watchtower, half-erected, the little flag still in the
      ground. Laborers hammer at it while others roll out barbed
      wire fencing. A surveyor supervises the placement of a post
      and carefully measures its heights; it has to be nine feet,
      exactly.

      At a folding table in the middle of the field, Schindler
      signs checks made out to the Construction Office, Plaszow -
      requisitioning more lumber, cement and hardware.

      112. EXT. CONSTRUCTION OFFICE, PLASZOW - DAY 112.

      Plaszow prisoners load the requisitioned building supplies -
      the lumber, cement and hardware - onto trucks.

      113. EXT/INT. WAREHOUSE, CRACOW - DAY 113.

      The trucks parked not at Schindler’s sub-camp, but at the
      loading dock of Goeth’s private warehouse in Cracow. Inside
      the building can be glimpsed all kinds of Plaszow goods:
      clothes, food, construction equipment, furniture.

      Checkbook laid out on the hood of his Mercedes, Schindler
      pays for the requested materials a second time - this time
      with a check made out to Amon Goeth personally - and hands it
      over to his bagman, Hujar.

      114. EXT. D.E.F. SUBCAMP FIELD - DAY 114.

      Some SS architects groan over a set of blueprints. Schindler
      and an SS officer walk by.

      SS OFFICER
      You have the Poles beat the Czechs, you
      have the Czechs beat the Poles, that way
      everybody stays in line.

      SCHINDLER
      All I have is Jews.
      65.


      He shrugs, Too bad, what’re you going to do? The SS guy has
      to think. Yeah, that’s a problem. Two huge leashed dogs
      yank another SS man across their path.

      115. EXT. D.E.F. - DAY 115.

      As five hundred Plaszow prisoners are marched back onto the
      grounds of D.E.F., any hope they may have had of a more
      lenient environment is quickly dashed. The place - completed
      - looks like a fortress: barbed-wire, towers, SS guards and
      dogs.

      116. INT. D.E.F. FACTORY - DAY 116.

      Where once they glimpsed the not too threatening figure of
      Oskar Schindler strolling through the factory, the workers
      who dare glance up now find armed guards moving past. And
      further up, behind the wall of windows, Schindler moving
      around, entertaining SS officer.
      Genres: ["Drama","War"]

      Summary In this scene, an SS surveyor measures a field and places a flag in the ground while laborers work on constructing a watchtower and installing barbed wire fencing. Schindler signs checks for building supplies and pays for them a second time. SS architects review blueprints. Schindler and an SS officer have a conversation about keeping everyone in line. 500 Plaszow prisoners are marched back onto the grounds of D.E.F. factory, where the workers notice armed guards and Schindler entertaining an SS officer. The scene ends with the workers in the factory noticing the increased security measures.
      Strengths
      • Powerful depiction of the Holocaust
      • Effective portrayal of character dynamics
      • High emotional impact
      Weaknesses
      • Lack of significant character development in this specific scene

      Ratings
      Overall

      Overall: 9

      The scene is highly impactful and effectively conveys the harsh realities of the Holocaust. It showcases the power dynamics between Schindler and Goeth, as well as the brutal treatment of the prisoners.


      Story Content

      Concept: 8

      The concept of building a subcamp and the corrupt transactions between Schindler and Goeth are compelling and add depth to the story.

      Plot: 9

      The plot of the scene revolves around the construction of the subcamp and the corrupt dealings between Schindler and Goeth. It is engaging and moves the story forward.

      Originality: 6

      The level of originality in this scene is moderate. While the setting and themes are familiar in Holocaust-related narratives, the specific actions and dialogue of the characters add authenticity and freshness to the scene. The characters' actions and dialogue reflect the historical context and the moral complexities of the time.


      Character Development

      Characters: 9

      The characters in the scene, particularly Schindler and Goeth, are well-developed and their interactions reveal their complex personalities and motivations.

      Character Changes: 8

      While there is not a significant character change in this scene, it further establishes the contrasting moral compasses of Schindler and Goeth.

      Internal Goal: 7

      The protagonist's internal goal in this scene is not explicitly stated, but it can be inferred that Oskar Schindler's deeper need, fear, or desire is to protect and save as many Jewish workers as possible.

      External Goal: 8

      The protagonist's external goal in this scene is to requisition more building supplies for the subcamp site. This goal reflects the immediate circumstances and challenges Schindler is facing in managing the construction of the camp.


      Scene Elements

      Conflict Level: 9

      The conflict between Schindler and Goeth, as well as the conflict between the prisoners and their oppressors, creates a high level of tension and drama.

      Opposition: 8

      The opposition in this scene is strong as Schindler faces challenges from the SS officers, the oppressive environment, and the moral dilemmas he encounters. The audience is unsure of how he will overcome these obstacles.

      High Stakes: 10

      The stakes are incredibly high as the prisoners face brutal treatment and Schindler risks his own safety by engaging in corrupt transactions.

      Story Forward: 9

      The scene moves the story forward by showing the construction of the subcamp and the corrupt dealings between Schindler and Goeth.

      Unpredictability: 7

      This scene is unpredictable because it introduces conflicting values and challenges for the protagonist. The audience is unsure of how Schindler will navigate the oppressive environment and protect the Jewish workers.

      Philosophical Conflict: 9

      There is a philosophical conflict evident in this scene between Schindler's belief in the value of human life and the SS officer's indifference towards the Jewish workers. This conflict challenges Schindler's beliefs, values, and worldview as he navigates the oppressive Nazi regime.


      Audience Engagement

      Emotional Impact: 10

      The scene evokes strong emotions due to its depiction of the brutal treatment of the prisoners and the corrupt actions of Schindler and Goeth.

      Dialogue: 8

      The dialogue in the scene effectively conveys the power dynamics and tension between Schindler and Goeth.

      Engagement: 9

      This scene is engaging because it presents a visually descriptive environment and introduces conflicts and goals for the protagonist. The tension and moral dilemmas keep the audience invested in the story.

      Pacing: 8

      The pacing of the scene contributes to its effectiveness by balancing moments of tension and action with moments of reflection and dialogue. It keeps the audience engaged and invested in the story.


      Technical Aspect

      Formatting: 9

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

      Structure: 8

      The structure of this scene follows the expected format for its genre. It presents a series of visual and narrative descriptions that effectively convey the progression of events.


      Critique
      • The scene transitions are abrupt, making it difficult to follow the flow of events. Consider smoother transitions to improve the pacing and coherence.
      • The dialogue in lines 114 is interesting, but it seems out of place and unrelated to the rest of the scene. Consider integrating it better with the surrounding context.
      • There is a lack of emotional resonance in the scene, especially given the gravity of the situation. Consider adding more details or dialogue to convey the feelings and thoughts of the characters.
      • The introduction of the 'bagman' Hujar is sudden and unexplained. Offer more context for his presence to help readers understand his role and significance.
      Suggestions
      • Add transitions between scenes to ensure a smooth flow of events and maintain reader engagement.
      • Integrate the dialogue in lines 114 with the surrounding context, making it relevant to the scene and characters.
      • Include emotional elements to convey the characters' feelings and thoughts, enhancing the emotional impact of the scene.
      • Provide background information on Hujar to help readers understand his role and significance in the scene.



      Scene 20 -  Schindler Helps Leo and Confronts Goeth
      117. INT. GOETH’S VILLA - NIGHT 117.

      The Rosner brothers in evening clothes, Leo on accordion,
      Henry on violin, playing a Strauss melody, trying to keep it
      muted, inoffensive. Few of the guests pay attention, which
      is fine with them. An SS officer chats with Schindler.

      LEO JOHN
      - she’s seventy years old, she’s been
      there forever - they bomb her house.
      Everything’s gone. The furniture,
      everything.

      SCHINDLER
      (well aware the man
      is lying)
      Thank God she wasn’t there.

      Schindler, with yet another girl on his arm, endures the
      officer’s lies while sweeping the room with his eyes.
      66.


      LEO JOHN
      I was thinking maybe you could help her
      out. Some plates and mugs, some stew
      pots, I don’t know. Say half a gross of
      everything?

      Schindler looks at him for the first time, knowingly.

      SCHINDLER
      She run an orphanage, your aunt?

      LEO JOHN
      She’s old. What she can’t use maybe she
      can sell.

      Schindler’s girl excuses herself to get a drink.

      SCHINDLER
      You want it sent directly to her or
      through you?

      LEO JOHN
      Through me, I think. I’d like to enclose
      a card.

      Schindler nods, Done. Both watch his date across the room
      getting a drink. As usual, she’s the best-looking on there.

      LEO JOHN
      Your wife must be a saint.

      Whatever tolerance Schindler’s had up to this point with John
      leaves his face; the looks he gives him now is pure contempt.

      SCHINDLER
      She is.

      118. INT. GOETH’S VILLA - LATER - NIGHT 118.

      Goeth’s girl tonight, a Pole, eighteen, nineteen, places a
      hand on Schindler’s sleeve. They’re at the important end of
      the large table with Goeth, along with Czurda and Leo John
      and their girlfriends.
      67.


      GOETH’S GIRL
      You’re not a soldier?

      SCHINDLER
      No, dear.

      CZURDA
      There’s a picture. Private Schindler?
      Blanket around his shoulders over in
      Kharkov?

      Everyone laughs.

      GOETH
      Happened to what’s his name - up in
      Warsaw - and he was bigger than you,
      Oskar.

      CZURDA
      Toebbens.

      GOETH
      Happened to Toebbens. Almost. Himmler
      goes up to Warsaw, tells the armament
      guys, “Get the fucking Jews out of
      Toebbens’ factory and put Toebbens in the
      army,” and - “and sent him to the Front.”
      I mean, the Front.

      Everybody laughs.

      GOETH
      It’s true. Never happen in Cracow,
      though, we all love you too much.

      SCHINDLER
      I pay you too much.

      Another round of laughs, only this time it’s forced.
      Everybody knows it’s true, but you don’t say it out loud, and
      Schindler knows better. Goeth gives him a look; they’ll talk
      later.
      68.


      119. EXT. GOETH’S VILLA - LATER - NIGHT 119.

      Goeth finds Schindler alone outside smoking a cigarette.
      Schindler acknowledges him, but that’s about it. Finally -

      SCHINDLER
      You held back Stern. You held back the
      one man most important to my business.

      GOETH
      He’s important to my business.

      SCHINDLER
      What do you want for him, I’ll give it to
      you.

      GOETH
      I want him.
      (turning back)
      Come on, let’s go inside, let’s have a
      good time.

      Goeth heads back inside. Schindler stays outside, finishing
      his cigarette.

      120. EXT. PLASZOW - LATER - NIGHT 120.

      A folding table outside the prisoners’ barracks. At it,
      playing cards, two night sentries. A figure appears out of
      the darkness. Schindler. He sets down on the table a fifth
      of vodka.

      121. EXT. BARRACKS - LATER - NIGHT 121.

      Stern, summoned from his barracks, watches as Schindler digs
      through his coat pockets. Nearby, at the table, drinking
      now, the sentries. From the hill, the villa, the Rosners’
      music, faint, can be heard.

      SCHINDLER
      Here.
      69.


      He discreetly hands over to the accountant some cigars
      scavenged from the party. From another pocket, he retrieves
      and hands over some tins of food - all valuable commodities.
      From another pocket, perhaps not so valuable, but then who
      knows, a gold lighter. Regarding this last item -

      SCHINDLER
      This, I don’t know, maybe you can trade
      it for something.

      STERN
      Thank you.

      Schindler shrugs, It’s the least I can do. The two stand
      around a moment more before Schindler shrugs again, Sorry I
      can’t do more. He reaches out, pats Stern on the shoulder,
      and, turning to leave.

      SCHINDLER
      I got to go, I’ll see you.

      STERN
      Oskar -

      Schindler comes back, but, out of embarrassment or - maybe he
      wants to get back to the party - waits with some impatience
      for Stern to tell whatever it is he wants to tell him.
      Lowering his voice -

      STERN
      There’s a guy. This thing happened.
      Goeth came into the metalworks -

      CUT TO:
      Genres: ["Drama","War"]

      Summary In this tense and confrontational scene at Goeth's villa, the Rosner brothers play music while Leo John asks Schindler for help with his aunt's orphanage. Schindler agrees to assist and questions if Leo's aunt runs an orphanage. Leo mentions that she can sell what she can't use, which diminishes Schindler's tolerance for him. Later, Goeth's girl approaches Schindler and they have a conversation. Schindler confronts Goeth about holding back Stern, and they agree to talk later. Schindler then meets Stern outside, giving him valuable items. Before the scene cuts to a different location, Stern starts to tell Schindler something.
      Strengths
      • Sharp dialogue
      • Effective portrayal of power dynamics
      • Tension and contrast between the party and the suffering of the prisoners
      Weaknesses

        Ratings
        Overall

        Overall: 9

        The scene effectively conveys the tension and darkness of the situation, while also providing moments of sarcasm and cynicism. The dialogue is sharp and engaging, and the characters' motivations and conflicts are well-established.


        Story Content

        Concept: 8

        The concept of the scene, which focuses on the interaction between Schindler and Goeth, is well-executed. It explores the themes of duty, power, and moral ambiguity in a compelling way.

        Plot: 8

        The plot of the scene revolves around Schindler's attempts to secure the release of Stern and his frustration with Goeth's actions. It effectively advances the overall story by highlighting the growing tension between Schindler and Goeth.

        Originality: 6

        The level of originality in this scene is moderate. While the setting and themes are familiar in World War II narratives, the specific interactions and dynamics between the characters bring a fresh perspective. The authenticity of the characters' actions and dialogue adds to the originality.


        Character Development

        Characters: 9

        The characters in the scene, particularly Schindler and Goeth, are well-developed and their motivations and conflicts are clearly portrayed. Their interactions and dialogue reveal their complex relationship and add depth to the scene.

        Character Changes: 7

        While there is not a significant character change in this scene, it further establishes the dynamics and conflicts between Schindler and Goeth.

        Internal Goal: 8

        The protagonist's internal goal in this scene is to maintain his facade and navigate the social dynamics of the party. He wants to appear polite and agreeable while also keeping an eye out for opportunities to help others.

        External Goal: 7

        The protagonist's external goal in this scene is to negotiate with Leo John to help his aunt who runs an orphanage. This goal reflects the immediate circumstances of the war and the challenges faced by the Jewish community.


        Scene Elements

        Conflict Level: 8

        The scene contains both internal and external conflicts. The internal conflict is evident in Schindler's frustration with Goeth's actions, while the external conflict is represented by their power struggle and the plight of the prisoners.

        Opposition: 7

        The opposition in this scene is strong as Schindler faces resistance from Goeth and the challenges of navigating the social dynamics of the party. The audience is unsure of how Schindler will overcome these obstacles.

        High Stakes: 8

        The stakes are high in the scene as Schindler tries to secure the release of Stern and protect his business interests. The lives of the prisoners are also at stake.

        Story Forward: 8

        The scene moves the story forward by highlighting the growing tension between Schindler and Goeth and setting up future conflicts and developments.

        Unpredictability: 7

        This scene is unpredictable because it introduces unexpected conflicts and challenges for the protagonist. The reader is unsure of how the negotiations will unfold and how the characters will react.

        Philosophical Conflict: 9

        There is a philosophical conflict evident in this scene between Schindler's belief in helping others and Goeth's indifference towards the suffering of the Jewish people. This conflict challenges Schindler's values and worldview.


        Audience Engagement

        Emotional Impact: 8

        The scene evokes a range of emotions, including tension, contempt, and empathy for the prisoners. The contrast between the lavish party and the suffering of the prisoners adds to the emotional impact.

        Dialogue: 9

        The dialogue in the scene is sharp, engaging, and reveals the characters' personalities and motivations. It effectively conveys the tension and power dynamics between Schindler and Goeth, as well as their sarcastic banter.

        Engagement: 9

        This scene is engaging because it balances dialogue, character interactions, and underlying tension. The reader is drawn into the social dynamics and the moral dilemma faced by the protagonist.

        Pacing: 8

        The pacing of the scene contributes to its effectiveness by balancing moments of tension and dialogue. It keeps the reader engaged and maintains a steady rhythm.


        Technical Aspect

        Formatting: 9

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

        Structure: 8

        The structure of this scene follows the expected format for its genre. It establishes the setting, introduces the characters, and progresses the narrative through dialogue and actions.


        Critique
        • The scene transitions are abrupt and could be smoother, providing better continuity between the different locations and conversations.
        • The dialogue, while engaging, could benefit from more subtext and underlying tension, especially between Schindler and Goeth.
        • The scene with Schindler and the SS officer discussing the orphanage could be more impactful if the stakes were clearer and the emotions more palpable.
        • The party scene at Goeth's villa could be more immersive, with more sensory details and a better sense of the atmosphere and the characters' moods.
        • The scene with Schindler and Stern could benefit from more context and background, allowing the audience to better understand the significance of their interaction.
        Suggestions
        • Consider adding transitions between scenes to improve continuity and pacing.
        • Incorporate subtext and tension into the dialogue, particularly in the conversations between Schindler and Goeth, to heighten the stakes and engage the audience.
        • Add sensory details and a stronger sense of atmosphere to the party scene, helping the audience feel immersed in the setting and more connected to the characters.
        • Provide more context for the scene with Schindler and the SS officer, clarifying the stakes and the significance of their conversation for both the characters and the audience.
        • Give more background information and context for the scene with Schindler and Stern, allowing the audience to better understand the importance of their interaction and the emotions at play.



        Scene 21 -  Sadistic Behavior and Distractions
        122. INT. METALWORKS - PLASZOW - DAY 122.

        Goeth moves through the crowded metalworks like a good-
        natured foreman, nodding to this worker, wishing that one a
        good morning. He seems satisfied, even pleased, with the
        level of production. Goldberg is with him. They reach a
        particular bench, a particular worker, and Goeth smiles
        pleasantly.
        70.


        GOETH
        What are you making?

        Not daring to look up, all the worker sees of Goeth is the
        starched cuff of his shirt.

        LEVARTOV
        Hinges, sir.

        The rabbi-turned-metalworker gestures with his head to a pile
        of hinges on the floor. Goeth nods. And in a tone more like
        a friend than anything else -

        GOETH
        I got some workers coming in tomorrow …
        Where the hell they from again?

        GOLDBERG
        Yugoslavia.

        GOETH
        Yugoslavia. I got to make room.

        He shrugs apologetically and pulls out a pocket watch.

        GOETH
        Make me a hinge.

        As Goeth times him, Rabbi Levartov works at making a hinge as
        though his life depended on it - which it does - cutting the
        pieces, wrenching them together, smoothing the edges, all the
        while keeping count on his head of the seconds ticking away.
        He finishes and lets it fall onto the others on the floor.
        Forty seconds.

        GOETH
        Another.

        Again the rabbi works feverishly - cutting, crimping,
        sanding, hearing the seconds ticking in his head - and
        finishing in thirty-five. Goeth nods, impressed.
        71.


        GOETH
        That’s very good. What I don’t
        understand, though, is - you’ve been
        working since what, about six this
        morning? Yet such a small pile of
        hinges?

        He understands perfectly. So does Levartov; he has just
        crafted his own death in exactly 75 seconds. Goeth stands
        him against the workshop wall and adjusts his shoulders. He
        pulls out his pistol, puts it to the rabbi’s head and pulls
        the trigger … click.

        GOETH
        (mumble)
        Christ -

        Annoyed, Goeth extracts the bullet-magazine, slaps it back in
        and puts the barrel back to the man’s head. He pulls the
        trigger again … and again there’s a click.

        GOETH
        God damn it -

        He slams the weapon across Levartov’s face and the rabbi
        slumps dazed to the floor. Looking up into Goeth’s face, he
        knows it’s not over. As Goeth walks away -

        CUT BACK TO:

        123. EXT. BARRACKS - CONTINUED - NIGHT 123.

        Tight on Schindler, a pensive nod, then a shrug.

        SCHINDLER
        The guy can turn out a hinge in less than
        a minute? Why the long story?

        124. INT. D.E.F. - DAY 124.

        Rabbi Levartov, brought over to D.E.F., works at a table with
        several others. As Schindler strolls by, the rabbi dares to
        speak -
        72.


        LEVARTOV
        Thank you, sir.

        Schindler has to think a moment before he can figure out who
        the grateful man is.

        SCHINDLER
        Oh, yeah. You’re welcome.

        125. EXT. PLASZOW - DAY 125.

        A dead chicken dangling from Hujar’s hand, evidence of some
        kind. Goeth slowly pacing before a work detail of twenty or
        so men standing still, silent, in a row.

        GOETH
        Nobody knows who stole the chicken. A man
        walks around with a chicken, nobody
        notices this.

        No one confesses. Goeth nods, All right, takes a rifle from
        a guard and shoots one of the workers at random. With this
        added incentive, he waits for someone to tell him who stole
        the chicken. No one does.

        GOETH
        Still nobody knows.

        He shrugs, Okay, points the rifle at another worker - and a
        boy of fourteen, shuddering and weeping, steps out of line.

        GOETH
        There we go.

        Goeth goes over to the boy, and, like a distant relative to a
        small child, tries to get him to look at his face.

        GOETH
        It was you? You committed this crime?

        BOY
        No, sir.
        73.


        GOETH
        You know who, though.

        The boy nods, weeps, screams -

        BOY
        Him!

        He’s pointing at the dead man. And Goeth astonishes the
        entire assembly of workers and guards by believing the boy.
        He returns the rifle to the guard and walks away. Hujar
        stares after him, then knowingly at the boy.

        126. EXT. PLASZOW - DAY 126.

        A truck being loaded with supplies. Schindler signs for it
        and, appearing as rushed as he always does, returns the
        clipboard to Stern.

        SCHINDLER
        Yeah, sure, bring him over.

        127. INT. D.E.F. - DAY 127.

        Schindler comes down the stairs with Klonowska. As they’re
        crossing through the factory -

        BOY
        Thank you, sir.

        SCHINDLER
        (distracted)
        That’s okay.

        128. INT. MECHANICS’ GARAGE - PLASZOW - DAY 128.

        A mechanic peering under the hood of Goeth’s Adler. Leaning
        in he accidentally knocks a wrench off the radiator into the
        fan and there’s an awful clatter before the engine dies. The
        mechanic glances up horrified.
        74.


        129. EXT. GOETH’S VILLA - DAY 129.

        As servants hoist a heavy, elaborately tooled saddle from
        Schindler’s trunk - a gift for Goeth - Schindler sees Stern
        coming toward him and glances skyward long-sufferingly.

        130. INT. D.E.F. - DAY 130.

        The mechanic, making adjustments to a metal press, glances up
        as Schindler moves past.

        MECHANIC
        Thank -

        SCHINDLER
        Yeah, yeah, yeah.

        131. EXT. D.E.F. FACTORY - DAY 131.

        Across the street stands a nervous young woman in a faded
        dress. She seems to be trying to summon the courage to cross
        over and onto the factory grounds.

        132. INT. D.E.F. FACTORY - DAY 132.

        Just inside the factory, she waits as a guard telephones
        Schindler’s office. She can see the wall of windows from
        where she’s standing, and Schindler himself as he appears at
        it, phone to his ear. He glances down at her disapprovingly
        and the guard hangs up.

        GUARD
        He won’t see you.

        133. INT. APARTMENT - CRACOW - DAY 133.

        The woman alone in a dismal room pulling on nylon stockings.
        At a mirror, she applies make-up. She slips into a
        provocative dress. Puts on heels. A Parisian hat. And
        looks in the mirror.
        75.
        Genres: ["Drama","War"]

        Summary In this scene, Goeth walks through the crowded metalworks, interacting with workers and observing their production. He tests Rabbi Levartov's ability to make hinges quickly and then proceeds to torture him. Schindler questions Goeth's long story about hinges and later Rabbi Levartov thanks Schindler. Goeth shoots a worker for stealing a chicken and a boy confesses. Schindler signs for supplies and agrees to bring someone over. The scene ends with Schindler being distracted by a grateful boy and a mechanic accidentally damaging Goeth's car. Meanwhile, a nervous young woman tries to see Schindler but is denied access and gets dressed up in an apartment in Cracow.
        Strengths
        • Powerful and tense dialogue
        • Effective portrayal of character development
        • Strong emotional impact
        Weaknesses
        • Some dialogue could be more nuanced

        Ratings
        Overall

        Overall: 9

        The scene is highly impactful and effectively conveys the tension and fear experienced by the characters. It also reveals important character development for both Goeth and Schindler.


        Story Content

        Concept: 8

        The concept of the scene, which focuses on the power dynamics and moral dilemmas faced by the characters, is well-executed and engaging.

        Plot: 8

        The plot of the scene revolves around Goeth's sadistic behavior and Schindler's growing realization of the horrors of the Holocaust. It effectively advances the overall story.

        Originality: 9

        The level of originality in this scene is high. The situation of the protagonist being forced to make hinges quickly to avoid punishment is unique and fresh. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


        Character Development

        Characters: 9

        The characters in the scene, particularly Goeth and Schindler, are well-developed and their actions and dialogue reveal their complex personalities and motivations.

        Character Changes: 8

        The scene shows a significant change in Schindler's character as he becomes more aware of the atrocities and starts to take action to help the workers.

        Internal Goal: 8

        The protagonist's internal goal in this scene is to survive and avoid drawing attention to himself as a Jewish worker. This reflects his deeper need for self-preservation and his fear of being discovered and killed.

        External Goal: 7

        The protagonist's external goal in this scene is to make hinges quickly and efficiently to please Goeth and avoid punishment. This reflects the immediate challenge of meeting Goeth's expectations and avoiding punishment or harm.


        Scene Elements

        Conflict Level: 9

        The scene is filled with conflict, both internal and external, as the characters navigate their moral dilemmas and face the brutal actions of Goeth.

        Opposition: 9

        The opposition in this scene is strong, as the protagonist is constantly under threat from Goeth and the Nazi regime. The audience is unsure of how the protagonist will navigate the dangerous situation and whether he will be able to meet Goeth's expectations.

        High Stakes: 9

        The stakes are high in the scene as the characters' lives are at risk and their moral choices have significant consequences.

        Story Forward: 8

        The scene moves the story forward by showing the escalating brutality of Goeth and Schindler's growing realization of the need to help the workers.

        Unpredictability: 8

        This scene is unpredictable because it subverts the audience's expectations by having the protagonist survive the initial threat of being shot. The unexpected turn of events adds to the tension and keeps the audience on edge.

        Philosophical Conflict: 9

        There is a philosophical conflict evident in this scene between the protagonist's desire to survive and the oppressive Nazi regime's goal of exterminating Jews. This challenges the protagonist's beliefs and values as he must navigate the dangerous and life-threatening situation.


        Audience Engagement

        Emotional Impact: 9

        The scene evokes strong emotions of fear, tension, and empathy for the characters, particularly the victims of Goeth's sadistic behavior.

        Dialogue: 8

        The dialogue in the scene is tense and impactful, effectively conveying the power dynamics and moral conflicts between the characters.

        Engagement: 9

        This scene is engaging because it creates a sense of tension and suspense through the protagonist's struggle to make hinges quickly and avoid punishment. The threat of violence and the high stakes keep the audience invested in the outcome.

        Pacing: 9

        The pacing of the scene contributes to its effectiveness by creating a sense of urgency and tension. The quick cuts between different characters and locations keep the scene moving at a fast pace.


        Technical Aspect

        Formatting: 9

        The formatting of this scene follows the expected format for its genre. It uses proper scene headings, action lines, and dialogue formatting to convey the information effectively.

        Structure: 8

        The structure of this scene follows the expected format for its genre. It establishes the setting, introduces the characters, and presents the conflict and resolution in a clear and coherent manner.


        Critique
        • The scene is very detailed and rich, providing a deep insight into the characters and their motivations. However, it can be challenging to follow the rapid transitions between different locations and subplots.
        • The dialogue is powerful and drives the scene forward, but there are moments when it becomes unclear which characters are speaking. Adding more distinct tags for each character's lines can help clarify this.
        • The emotional tone of the scene is tense and foreboding, which is well-executed. However, there is a risk of overwhelming the reader with the constant sense of danger and fear. Consider balancing the tension with moments of relief or hope.
        • The visual elements of the scene are vivid and create a strong sense of place. However, the transitions between locations can be abrupt and confusing. More explicit transitions or scene breaks can help guide the reader through the story.
        Suggestions
        • Clearly identify the characters in the scene by adding character tags to their lines of dialogue.
        • Consider adding more subtle moments of relief or hope to balance the constant tension and fear.
        • Use explicit scene breaks or transitions to help the reader follow the rapid shifts between locations and subplots.
        • Ensure that the visual elements and descriptions are well-integrated into the scene, providing a cohesive and engaging narrative.



        Scene 22 -  Refusal and Concerns
        134. INT. D.E.F. - DAY 134.

        Schindler waits for her on the landing of the stairs. He
        doesn’t recognize her, but smiles to counter the
        unfortunately possibility she’s some old girlfriend he’s
        forgotten. Reaching him, she offers her hand.

        SCHINDLER
        Miss Krause.

        MISS KRAUSE
        How do you do?

        He can tell now she doesn’t know him. He seems relieved. He
        leads her past Klonowska’s desk and into his office.

        135. INT. SCHINDLER’S OFFICE - DAY 135.

        He arranges a chair for her, goes to his liquor cabinet.

        SCHINDLER
        Pernod? Cognac?

        MISS KRAUSE
        No, thank you.

        He pours himself a drink, warms it in his hands, smiles,
        clearly take with her.

        SCHINDLER
        So.

        The grace with which she’s carried herself up to this point
        seems to evaporate as she struggles to find the words she
        wants.

        MISS KRAUSE
        They say that no one dies here. They say
        your factory is a haven. They say you are
        good.
        76.


        Schindler’s face changes like a wall going up, a mask of
        indifference like in the portrait of Adolf Hitler on the wall
        behind him.

        SCHINDLER
        Who says that?

        MISS KRAUSE
        Everyone.

        Schindler glances away from her. He seems weary suddenly,
        depressed.

        MISS KRAUSE
        My name is Regina Perlman, not Elsa
        Krause. I’ve been living in Cracow on
        false papers since the ghetto massacre.
        (pause)
        My parents are in Plaszow. They’re old.
        They’re killing old people in Plaszow
        now. They bury them up in the forest. I
        have no money. I borrowed these clothes.
        Will you bring them here?

        Schindler glances back at her, his face hard, cold, and
        studies her for a long, long moment before -

        SCHINDLER
        I don’t do that. You’ve been misled. I
        ask one thing: whether or not a worker
        has certain skills. That’s what I ask
        and that’s what I care about, get out of
        my office.

        She stares at him, frightened and bewildered. She feels
        tears welling up.

        SCHINDLER
        Cry and I’ll have you arrested, I swear
        to God.

        She hurries out.
        77.


        136. INT. ADMINISTRATION BUILDING - PLASZOW - DAY 136.

        Schindler barges into Stern’s office. In a foul and
        aggressive mood, he dispenses with pleasantries in order to
        admonish the accountant -

        SCHINDLER
        People die, it’s a fact of life.

        Stern has hardly had time to look up from the work on his
        desk.

        SCHINDLER
        He wants to kill everybody? Great. What
        am I supposed to do, bring everybody
        over? Is that what you think? Yeah,
        send them over to Schindler, send them
        all. His place is a “haven,” didn’t you
        know? It’s not a factory, it’s not an
        enterprise of any kind, it’s a haven for
        people with no skills whatsoever.

        Stern’s look is all innocence, but Schindler knows better.

        SCHINDLER
        You think I don’t know what you’re doing?
        You’re so quiet all the time? I know.

        STERN
        (with concern)
        Are you losing money?

        SCHINDLER
        No, I’m not losing money, that’s not the
        point.

        STERN
        What other point is -

        SCHINDLER
        (interrupts; yells)
        It’s dangerous. It’s dangerous, to me,
        personally.
        78.


        Silence. Schindler tries to settle down. Then -

        SCHINDLER
        You have to understand, Goeth’s under
        enormous pressure. You have to think of
        it in his situation. He’s got this whole
        place to run, he’s responsible for
        everything that goes on here, all these
        people - he’s got a lot of things to
        worry about. And he’s got the war. Which
        brings out the worst in people. Never
        the good, always the bad. Always the
        bad. But in normal circumstances, he
        wouldn’t be like this. He’d be all
        right. There’d be just the good aspects
        of him. Which is a wonderful crook. A
        guy who loves good food, good wine, the
        ladies, making money…

        STERN
        And killing.

        SCHINDLER
        I’ll admit it’s a weakness. I don’t
        think he enjoys it.
        (pause)
        All right, he does enjoy it, so what?
        What do you expect me to do about it?

        STERN
        There’s nothing you can do. I’m not
        asking you to do anything. You came into
        my office.

        But it isn’t Stern who needs convincing; it’s Schindler
        himself. It’s doubtful he even realizes this, but it’s clear
        to Stern. Schindler sighs either at the predicament itself,
        or at the fact that he’s ahhhhsllowed Stern to place him
        right in the middle of it. He turns to leave, hesitates. He
        conducts a mental search for a name and eventually comes up
        with it:
        79.


        SCHINDLER
        Perlman, husband and wife. He unstraps
        his watch, hands it to Stern.

        SCHINDLER
        Give it to Goldberg, have him send them
        over. He leaves.
        Genres: ["Drama","War"]

        Summary Schindler waits for Miss Krause in his office where they have a tense conversation. Miss Krause reveals her true identity and asks Schindler to bring her parents to his factory, but he refuses and threatens her. In the next scene, Schindler confronts Stern about the dangerous situation and expresses his concerns. The conflicts between Miss Krause and Schindler, as well as Schindler's concerns, remain unresolved.
        Strengths
        • Emotional depth
        • Exploration of moral dilemmas
        • Strong character development
        Weaknesses
        • Some dialogue could be more nuanced

        Ratings
        Overall

        Overall: 9

        The scene is emotionally charged and highlights the internal conflict of the protagonist. It effectively conveys the harsh reality of the situation and the moral complexities faced by Schindler.


        Story Content

        Concept: 8

        The concept of the scene revolves around the ethical dilemma of Schindler and the contrast between his public image and private struggles. It effectively explores the themes of responsibility, sacrifice, and the limitations of individual power.

        Plot: 8

        The plot of the scene focuses on Schindler's encounter with Regina Perlman and his subsequent confrontation with Stern. It advances the overall narrative by highlighting the challenges and moral dilemmas faced by Schindler.

        Originality: 6

        The level of originality in this scene is moderate. While the setting and themes are familiar in World War II narratives, the specific interactions and conflicts between the characters bring a fresh perspective. The authenticity of the characters' actions and dialogue adds to the originality.


        Character Development

        Characters: 9

        The scene provides insight into Schindler's character, showcasing his internal conflict and the complexities of his motivations. Regina Perlman serves as a catalyst for Schindler's emotional journey. Stern's character adds depth and tension to the scene.

        Character Changes: 8

        Schindler experiences a subtle change in his character as he confronts the harsh realities of the war and the limitations of his power. He becomes more aware of the personal risks involved in his actions.

        Internal Goal: 8

        The protagonist's internal goal in this scene is to convince Schindler to help her bring her parents to the factory for safety. This reflects her deeper need to protect her family and her fear of losing them.

        External Goal: 7

        The protagonist's external goal in this scene is to seek Schindler's assistance in saving her parents from being killed. This reflects the immediate circumstances and challenges she's facing in the war-torn environment.


        Scene Elements

        Conflict Level: 8

        The scene contains both internal and external conflicts. Schindler's internal conflict is evident in his struggle to balance his personal safety with his desire to help others. The external conflict arises from the tension between Schindler and Stern.

        Opposition: 9

        The opposition in this scene is strong, as Schindler's indifference and refusal to help creates a significant obstacle for the protagonist. The audience is unsure of how the situation will unfold.

        High Stakes: 9

        The stakes are high in the scene as Schindler grapples with the moral dilemma of risking his own safety to help others. The lives of Regina Perlman's parents are at stake, adding to the tension.

        Story Forward: 8

        The scene moves the story forward by highlighting the challenges and moral dilemmas faced by Schindler. It deepens the audience's understanding of his character and sets up future conflicts.

        Unpredictability: 7

        This scene is unpredictable because it subverts the audience's expectations of Schindler's character by revealing his indifference and refusal to help the protagonist. This adds to the tension and uncertainty of the situation.

        Philosophical Conflict: 9

        There is a philosophical conflict evident in this scene between Schindler's indifference and the protagonist's belief in his goodness. This challenges the protagonist's values and worldview, as she realizes that Schindler may not be as good as she initially thought.


        Audience Engagement

        Emotional Impact: 9

        The scene evokes strong emotions, including fear, sadness, and indifference. It highlights the harsh reality of the situation and the moral dilemmas faced by the characters.

        Dialogue: 8

        The dialogue effectively conveys the emotions and motivations of the characters. It showcases Schindler's internal struggle and his attempt to justify his actions to Stern.

        Engagement: 9

        This scene is engaging because it presents a compelling conflict between the characters, creates tension through their dialogue and actions, and evokes emotional responses from the audience.

        Pacing: 8

        The pacing of the scene contributes to its effectiveness by gradually building tension through the characters' dialogue and actions. It allows for moments of reflection and emotional impact.


        Technical Aspect

        Formatting: 9

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

        Structure: 8

        The structure of this scene follows the expected format for its genre. It establishes the setting, introduces the characters, and presents the conflict and its resolution.


        Critique
        • The scene transitions abruptly from the previous one, with no clear connection between the woman getting ready and the introduction of Miss Krause.
        • Miss Krause's backstory and motivation for seeking Schindler's help could be more clearly established earlier in the scene.
        • Schindler's sudden change in demeanor when Miss Krause mentions the rumors about his factory being a haven is quite dramatic, and could benefit from a more gradual build-up.
        • The dialogue between Schindler and Stern in the following scene is well-written, but it's not immediately clear how it relates to the previous scene with Miss Krause.
        Suggestions
        • Consider adding a few lines of dialogue or narration that connect the previous scene with the introduction of Miss Krause.
        • Establish Miss Krause's backstory and motivation for seeking Schindler's help earlier in the scene, so that her request carries more weight.
        • Instead of having Schindler's demeanor change suddenly, consider having him gradually become more guarded and skeptical as Miss Krause speaks.
        • Consider adding a line or two of dialogue that explicitly connects the previous scene with the conversation between Schindler and Stern.



        Scene 23 -  Power and Justice
        137. EXT. BALCONY - GOETH’S VILLA - NIGHT 137.

        Distant music, Brahms’ lullaby, from the Rosner Brothers way
        down by the women’s barracks calming the inhabitants. Up
        here on the balcony, Schindler and Goeth, the latter so drunk
        he can barely stand up, stare out over Goeth’s dark kingdom.

        SCHINDLER
        They don’t fear us because we have the
        power to kill, they fear us because we
        have the power to kill arbitrarily. A
        man commits a crime, he should know
        better. We have him killed, we feel
        pretty good about it. Or we kill him
        ourselves and we feel even better.
        That’s not power, though, that’s justice.
        That’s different than power. Power is
        when we have every justification to kill -
        and we don’t. That’s power. That’s what
        the emperors had. A man stole something,
        he’s brought in before the emperor, he
        throws himself down on the floor, he begs
        for mercy, he knows he’s going to die …
        and the emperor pardons him. This
        worthless man. He lets him go. That’s
        power. That’s power.

        It seems almost as though this temptation toward restraint,
        this image Schindler has brush-stroked of the merciful
        emperor, holds some appeal to Goeth. Perhaps, as he stares
        out over his camp, he imagines himself in the role, wondering
        what the power Schindler describes might feel like.
        Eventually, he glances over drunkenly, and almost smiles.
        80.


        SCHINDLER
        Amon the Good.

        138. EXT. STABLES - PLASZOW - DAY 138.

        A stable boy works to ready Goeth’s horse before he arrives.
        He sticks a bridle into its mouth, throws a riding blanket
        onto its back, drags out the saddle Schindler bought Goeth.
        Before he can finish, though, Goeth is there. The boy tries
        to hide his panic; he knows others have been shot for less.

        STABLE BOY
        I’m sorry, sir, I’m almost done.

        GOETH
        Oh, that’s all right.

        As Goeth waits, patiently it seems, whistling to himself, the
        stable boy tries to mask his confusion.

        139. EXT. PLASZOW - DAY 139.

        Goeth gallops around his great domain holding himself high in
        the saddle. But everywhere he looks, it seems, he’s
        confronted with stoop-shouldered sloth. He forces himself to
        smile benevolently.

        140. INT. GOETH’S VILLA - DAY 140.

        Goeth comes into his bedroom sweating from his ride. A
        worker with a pail and cloth appears in the bathroom doorway.
        More to the floor -

        WORKER
        I have to report, sir, I’ve been unable
        to remove the stains from your bathtub.

        Goeth steps past him to take a look. The worker is almost
        shaking, he’s so terrified of the violent reprisal he expects
        to receive.

        GOETH
        What are you using?
        81.


        WORKER
        Soap, sir.

        GOETH
        (incredulous)
        Soap? Not lye?

        The worker hasn’t a defense for himself. Goeth’s hand drifts
        down as if by instinct to the gun in his holster. He stares
        at the worker. He so wants to shoot him he can hardly stand
        it, right here, right in the bathroom, put some more stains
        on the porcelain. He takes a deep breath to calm himself.
        Then gestures grandly.

        GOETH
        Go ahead, go on, leave. I pardon you.

        The worker hurries out with his pail and cloth. Goeth just
        stands there for several moments - trying to feel the power
        of emperors he’s supposed to be feeling. But he doesn’t feel
        it. All he feels is stupid.
        Genres: ["Drama","War"]

        Summary Schindler and Goeth have a conversation on the balcony about the difference between power and justice. Later, Goeth interacts with a stable boy and a worker in his villa. The conflict arises when Goeth confronts the worker about stains in his bathtub, but it is resolved when Goeth decides to pardon the worker instead of shooting him. The scene ends with Goeth feeling stupid and unable to truly feel the power he desires.
        Strengths
        • Powerful dialogue
        • Intense conflict
        • Exploration of moral themes
        Weaknesses
        • Limited character development
        • Lack of action

        Ratings
        Overall

        Overall: 9

        The scene effectively conveys the tension and power dynamics between Schindler and Goeth. The dialogue is impactful and thought-provoking, and the conflict between the characters is palpable.


        Story Content

        Concept: 8

        The concept of power and its different manifestations is explored in depth. The scene delves into the moral dilemma of having the ability to kill arbitrarily and the allure of restraint.

        Plot: 7

        The plot in this scene primarily revolves around the power dynamics between Schindler and Goeth. It sets up the conflict and foreshadows the potential consequences of their actions.

        Originality: 9

        This scene demonstrates a high level of originality. The dialogue and themes explored are fresh and thought-provoking, offering a unique perspective on power, justice, and mercy. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


        Character Development

        Characters: 9

        The characters of Schindler and Goeth are well-developed and their contrasting personalities and motivations drive the scene. Their interactions reveal their complex dynamics and add depth to the story.

        Character Changes: 7

        While there is not significant character development in this scene, it does reveal the contrasting personalities and motivations of Schindler and Goeth.

        Internal Goal: 8

        The protagonist's internal goal in this scene is to challenge Goeth's belief in the power of killing arbitrarily and to make him question his actions and the meaning of true power. It reflects Schindler's deeper desire for justice and mercy.

        External Goal: 7

        The protagonist's external goal in this scene is to provoke a reaction from Goeth and to make him consider the power of mercy and restraint. It reflects the immediate challenge of trying to change Goeth's perspective and behavior.


        Scene Elements

        Conflict Level: 8

        The conflict between Schindler and Goeth is intense and palpable. Their differing perspectives on power and their interactions create a high level of tension and drama.

        Opposition: 9

        The opposition in this scene is strong, as Schindler challenges Goeth's beliefs and actions. The audience is unsure of how Goeth will respond, creating suspense and anticipation.

        High Stakes: 9

        The stakes are high in this scene as it explores the abuse of power and the potential consequences of arbitrary actions. The lives of many characters are at risk.

        Story Forward: 8

        The scene moves the story forward by establishing the power dynamics and conflicts between Schindler and Goeth. It sets up future plot developments and foreshadows potential consequences.

        Unpredictability: 7

        This scene is unpredictable because it challenges the audience's expectations and presents a unique perspective on power and mercy. The audience doesn't know how Goeth will react to Schindler's words.

        Philosophical Conflict: 9

        The philosophical conflict evident in this scene is between the belief in the power of killing arbitrarily and the belief in the power of mercy and restraint. It challenges Goeth's values and worldview, as well as Schindler's belief in justice and the importance of sparing lives.


        Audience Engagement

        Emotional Impact: 9

        The scene evokes strong emotions through its intense dialogue and the portrayal of power dynamics. The audience is likely to feel a mix of tension, unease, and intrigue.

        Dialogue: 9

        The dialogue in this scene is powerful and thought-provoking. It effectively conveys the themes of power, justice, and mercy. The conversations between Schindler and Goeth are particularly impactful.

        Engagement: 9

        This scene is engaging because of the intense dialogue, the tension between the characters, and the exploration of deep philosophical themes. It captivates the audience and keeps them invested in the story.

        Pacing: 8

        The pacing of this scene contributes to its effectiveness by allowing the tension and emotions to build gradually. It gives the audience time to absorb the dialogue and contemplate the philosophical conflict.


        Technical Aspect

        Formatting: 9

        The formatting of this scene follows the expected format for its genre. It is clear and easy to read, allowing the reader to focus on the content and emotions conveyed.

        Structure: 8

        The structure of this scene follows the expected format for its genre. It effectively sets up the philosophical conflict and develops the characters' goals and motivations.


        Critique
        • The scene transitions are abrupt and could be smoother to improve the flow of the story.
        • Goeth's character development could be further emphasized in this scene, as his internal conflict between power and mercy is not as clear as it could be.
        • The dialogue between Schindler and Goeth on the balcony is strong, but the following scene with the stable boy and Goeth feels disconnected and could be more directly tied to the themes discussed earlier.
        • The worker in Goeth's villa could be a more significant character, perhaps someone with a history or a personal connection to Goeth, to make the scene more impactful.
        Suggestions
        • Consider adding a transition between the conversation on the balcony and Goeth's interaction with the stable boy, to make the connection clearer.
        • Develop Goeth's character further by showing his struggle between his desire for power and his curiosity about mercy, perhaps through internal monologue or more pointed dialogue.
        • Integrate the worker in Goeth's villa more fully into the story, giving him a name and a history, to make his scene with Goeth more meaningful and impactful.



        Scene 24 -  Tense Confrontation and Stealing Allegations
        141. EXT. GOETH’S VILLA - MOMENTS LATER - DAY 141.

        The worker hurries across the dying lawn outside the villa.
        He dares a glance back, and at that moment, a hand with a gun
        appears out the bathroom window and fires.

        142. EXT. BARRACKS, PLASZOW - NIGHT 142.

        The sentries at their little table again, drinking
        Schindler’s vodka. Nearby, Schindler and Stern outside
        Stern’s barracks. The accountant’s tone is hushed:

        STERN
        If he didn’t steal so much, I could hide
        it. If he’s steal with some discretion…

        CUT TO:
        82.


        143. STERN’S OFFICE, PLASZOW - DAY 143.

        Goldberg delivers a stack of requisitions and invoices, and
        leaves without a word. Behind his desk, Stern takes a
        cursory look at them and shakes his head in dismay.

        144. INT. GOLDBERG’S OFFICE, PLASZOW - MINUTES LATER - DAY 144.

        Stern comes in with the requisitions. Now it’s Goldberg’s
        turn to shake his head in dismay; he doesn’t want to hear it -

        STERN
        There are fifteen thousand people here -

        GOLDBERG
        Goeth says there’s twenty-five.

        STERN
        There are fifteen. He wants to say
        sixteen, seventeen, all right, maybe he
        can get away with it, but ten thousand
        over? It’s stupid.

        GOLDBERG
        Stern, do me a favor, get out of here.
        You want to argue about it, go tell
        Goeth.

        145. LOADING DOCK, PLASZOW - DAY 145.

        Stern watches truck being unloaded of bags of flour, rice and
        other supplies. Goeth nods to Hujar. Hujar calls a halt.
        The workers climb down, close up the trucks. And, still half-
        full, the trucks rumble off.

        STERN (V.O.)
        The SS auditors keep coming around,
        looking over the books - Goeth knows
        this -
        83.


        146. EXT. CRACOW - DAY 146.

        The trucks at the loading dock of Goeth’s private warehouse.
        Polish workers, under Hujar’s supervision, throwing down the
        “surplus” bags of flour and rice - the supplies for the
        phantom 10,000 prisoners.

        STERN (V.O.)
        - you’d think he’d have the common sense
        to see what’s coming. No, he steals with
        complete impunity.

        CUT BACK TO:

        147. BARRACKS - CONTINUED - NIGHT 147.

        They can see Goeth’s villa up on the hill; figures moving
        around behind the windows. There’s another party going on up
        there. Down here, as he nurses a drink from his flask,
        Schindler thinks about what Stern has told him, and
        eventually shrugs, Fine, fuck him.

        SCHINDLER
        So you’ll be rid of him.

        But Stern slowly shakes his head ‘no.’

        STERN
        If Plaszow is closed, they’ll have to
        send us somewhere else. Where - who
        knows? Gross-Rosen maybe. Maybe
        Auschwitz.

        There’s the irony - bad as it is, evil as Goeth is, it could
        get worse. Schindler understands.

        SCHINDLER
        I’ll talk to him.

        STERN
        I think it’s too late.
        84.


        SCHINDLER
        Well, I’ll talk to somebody. I’ll take
        care of it.

        He hands over to Stern some negotiable items and leaves.

        148. INT. NIGHTCLUB - CRACOW - NIGHT 148.

        Schindler and Senior SS Officers Toffel and Scherner share a
        table in same smoke-filled nightclub they met in.

        SCHINDLER
        What’s he done that’s so bad - take
        money? That’s a crime? Come on, what are
        we here for, to fight a war? We’re here
        to make money, all of us.

        TOFFEL
        There’s taking money and there’s taking
        money, you know that. He’s taking money.

        SCHERNER
        The place produces nothing. I shouldn’t
        say that - nothing it produces reaches
        the Army. That’s not all right.

        SCHINDLER
        So I’ll talk to him about it.

        SCHERNER
        He’s a friend of yours, you want to help
        him out. Tell me this, though - has he
        ever once shown you his appreciation?
        I’ve yet to see it. Never a courtesy.
        Never a thank you note. He forgets my
        wife at Christmas time -

        SCHINDLER
        He’s got no style, we all know that. So,
        we should hang him for it?

        TOFFEL
        He’s stealing from you, Oskar.
        85.


        SCHINDLER
        Of course he’s stealing from me, we’re in
        business together. What is this? I’m
        sitting here, suddenly everybody’s
        talking like this is something bad. We
        take from each other, we take from the
        Army, everybody uses everybody, it works
        out, everybody’s happy.

        SCHERNER
        Not like him.

        Schindler glances away to the floor show, nods to himself.
        Glancing back again, he considers the SS men with great
        sobriety.

        SCHINDLER
        Yeah, well, in some eyes it doesn’t
        matter the amount we steal, it’s that we
        do it. Each of us sitting at this table.

        His thinly veiled threat of exposure escapes neither SS man.
        The air seems thicker suddenly.

        SCHERNER
        He doesn’t deserve your loyalty. More
        important, he’s not worth you making
        threats against us.

        SCHINDLER
        Did I threaten anybody here? I stated a
        simple fact.

        The threat still stands, despite Schindler’s assurance
        otherwise, and they all know it. So does Scherner’s threat
        back to him, and they all know that, too. But Schindler just
        grins, and, glancing away -

        SCHINDLER
        Come on, let’s watch the girls.
        86.
        Genres: ["Drama","War"]

        Summary In this scene, a worker is shot at by Goeth outside his villa. Schindler and Stern discuss Goeth's stealing and the potential consequences. Stern's concerns are dismissed by Goldberg. Trucks are unloaded with supplies for the phantom prisoners. Schindler and Stern discuss the possibility of being sent to another camp. Schindler offers to talk to Goeth. Schindler meets with SS officers Toffel and Scherner in a nightclub, defending Goeth's stealing, leading to a tense exchange.
        Strengths
        • Intense dialogue
        • Exploration of moral dilemmas
        • Tension and conflict between characters
        Weaknesses
        • Some dialogue could be more concise

        Ratings
        Overall

        Overall: 9

        The scene effectively conveys the conflict and tension between Schindler and Goeth, and the high stakes involved. The dialogue is intense and thought-provoking, and the scene moves the story forward by revealing the moral dilemma faced by Schindler.


        Story Content

        Concept: 8

        The concept of the scene, which focuses on the moral dilemma faced by Schindler and the corrupt actions of Goeth, is well-executed. It effectively explores the themes of power, justice, and the consequences of one's actions.

        Plot: 9

        The plot of the scene revolves around the confrontation between Schindler and Goeth, and the negotiation that follows. It is a crucial moment in the story as it reveals the moral dilemma faced by Schindler and sets up future events.

        Originality: 6

        The level of originality in this scene is moderate. While the setting and context of World War II and concentration camps are familiar, the specific dynamics between the characters and their conflicting motivations add a fresh perspective. The authenticity of the characters' actions and dialogue contributes to the overall originality.


        Character Development

        Characters: 9

        The characters of Schindler and Goeth are well-developed and their conflicting personalities and motivations are effectively portrayed. Their dialogue and actions reveal their complex relationship and the internal struggles they face.

        Character Changes: 8

        The scene reveals the internal struggles and moral dilemmas faced by Schindler. It shows his willingness to confront Goeth and negotiate for the safety of others, indicating a change in his character.

        Internal Goal: 8

        The protagonist's internal goal in this scene is to protect himself and his fellow prisoners from the potential closure of Plaszow and the transfer to other concentration camps. This reflects his deeper need for survival and his fear of the unknown and potentially worse conditions in other camps.

        External Goal: 7

        The protagonist's external goal in this scene is to confront Goeth about his stealing and convince him to change his behavior. This reflects the immediate challenge of dealing with Goeth's unethical actions and the potential consequences for the protagonist and the other prisoners.


        Scene Elements

        Conflict Level: 9

        The conflict between Schindler and Goeth is intense and drives the scene. Their conflicting motivations and actions create tension and suspense, and the potential consequences for the characters raise the stakes.

        Opposition: 9

        The opposition in this scene is strong, as the protagonist faces resistance and conflicting viewpoints from other characters. The audience is unsure of how the protagonist will overcome these obstacles and achieve his goals.

        High Stakes: 9

        The high stakes in the scene are evident through the potential consequences for the characters. The moral dilemma faced by Schindler and the corrupt actions of Goeth create tension and suspense.

        Story Forward: 9

        The scene moves the story forward by revealing the moral dilemma faced by Schindler and setting up future events. It raises the stakes and adds suspense to the narrative.

        Unpredictability: 7

        This scene is unpredictable because it introduces unexpected conflicts and challenges for the protagonist, such as the potential closure of Plaszow and the protagonist's confrontation with Goeth. The audience is unsure of how these conflicts will be resolved.

        Philosophical Conflict: 9

        The philosophical conflict evident in this scene is the clash between the protagonist's belief in the necessity of stealing for survival and the SS officers' belief in the immorality of stealing. This challenges the protagonist's values and worldview, as he must navigate the ethical implications of his actions.


        Audience Engagement

        Emotional Impact: 8

        The scene evokes strong emotions through its intense dialogue and the moral dilemmas faced by the characters. The high stakes and the potential consequences for the characters add to the emotional impact.

        Dialogue: 9

        The dialogue in the scene is intense and thought-provoking. It effectively conveys the conflict and tension between the characters and reveals their motivations and moral dilemmas. The dialogue also moves the story forward and sets up future events.

        Engagement: 9

        This scene is engaging because it presents a high-stakes conflict between the protagonist and other characters, creates tension through dialogue and actions, and raises questions about the characters' moral choices and the potential consequences.

        Pacing: 8

        The pacing of the scene contributes to its effectiveness by alternating between moments of tension and reflection. The rhythm of the dialogue and the concise narrative description maintain a sense of urgency and keep the scene moving.


        Technical Aspect

        Formatting: 9

        The formatting of this scene follows the expected format for its genre. It uses standard screenplay formatting conventions, such as capitalizing character names and using parentheticals for character actions.

        Structure: 8

        The structure of this scene follows the expected format for its genre. It includes clear scene headings, concise action lines, and dialogue that advances the plot and reveals character motivations.


        Critique
        • The scene transitions are abrupt and could benefit from more clear transitions to help the reader follow the narrative.
        • The dialogue in the nightclub scene is lengthy and could be broken up with more action or description to maintain the reader's interest.
        • The conflict between Schindler and Goeth is not fully developed and could benefit from more tension and build-up.
        • The scene with Stern and Goldberg in the office could be more impactful if the stakes were more clearly established and the emotions were more heightened.
        • The inner thoughts and emotions of the characters are not always clear, which can make it difficult for the reader to connect with them.
        Suggestions
        • Consider adding more descriptive language and sensory details to help the reader visualize the setting and the characters' emotions.
        • Try breaking up the dialogue in the nightclub scene with more action or description to maintain the reader's interest.
        • Consider adding more tension and build-up to the conflict between Schindler and Goeth to make it more impactful.
        • Establish the stakes more clearly in the scene with Stern and Goldberg to heighten the emotions and make it more impactful.
        • Make sure to clearly convey the inner thoughts and emotions of the characters to help the reader connect with them.



        Scene 25 -  Schindler's Birthday Celebration and the Sorting Process
        149. INT. D.E.F. FACTORY - DAY 149.

        In addition to the mid-day soup and break, there are bowls of
        fruit on the long work tables. At one of them, several
        workers are debating which of them will go upstairs to thank
        Schindler.

        150. INT. UPSTAIRS OFFICES, D.E.F. - SAME TIME - DAY 150.

        In honor of Schindler’s birthday, Goeth has brought over
        Stern and the Rosners - the musicians, at the moment,
        accompanying the best baritone in the Ukrainian garrison.

        Surrounded by his friends and lovers, Schindler cuts a cake.
        He receives congratulations from the many SS men present and
        the embraces, in turn, of Ingrid and Klonowska and Goeth.
        From Stern he gets a handshake.

        A Jewish girl from the shop floor is admitted and timidly
        approaches the drunken group around Schindler. The SS men
        consider her as a curiosity; Schindler, as he would any
        beautiful girl. The music breaks and out of the silence
        comes a small nervous voice:

        FACTORY GIRL
        … On behalf of the workers … sir … I wish
        you a happy birthday …

        She hesitates. She’s surrounded by SS uniforms and swastikas
        and holstered guns. Schindler smiles; this is a beautiful
        girl.

        SCHINDLER
        Thank you.

        He kisses her on the mouth. The smiles on the faces around
        them strain. Stern glances to heaven. Amon cocks his head
        like a confused dog. The kiss is broken, finally, and
        Schindler smiles again with impunity.

        SCHINDLER
        Thank them for me.
        87.


        The girl backs away nodding anxiously; all she wants now is
        out before someone - her, Schindler, both of them - gets
        shot. Henry Rosner nudges Leo and they begin another song.

        And the party tries to resume.

        151. EXT. APPELLPLATZ - PLASZOW - DAWN 151.

        Were they not asleep in their barracks, the prisoners would
        no doubt shudder at the sight: the clerks are setting up
        their folding tables.

        Other figures move around the parade ground in the murky dawn
        light: these raising a banner, those wheeling filing cabinets
        across the Appellplatz, this one wiring a phonograph, that
        one saturating a pad with ink from a bottle.

        Goldberg, Lord of Lists, moves from table to table handing
        out carbons of lists and sharing morning pleasantries with
        the clerks.

        Some men in white appear like ghosts. A doctor’s kid is
        opened, a stethoscope removed. Another cleans the lenses of
        his glasses. Someone sharpens a pencil.

        152. EXT. DEPOT - PLASZOW - DAWN 152.

        A trainman waving a lantern guides an engineer who’s slowly
        backing an empty cattle car along the tracks. It couples to
        another empty slatted car with a harsh clank.

        153. EXT. APPELLPLATZ - PLASZOW - DAY 153.

        The needle of the phonograph is set down on a pocked 78. The
        first scratchy note of a Strauss waltz blare from the camp
        speakers.

        154. EXT. BALCONY - GOETH’S VILLA - DAY 154.

        In his undershirt and shorts Goeth calmly smokes his first
        cigarette of the morning as he listens to the music wafting
        up from down below.
        88.

        Down there on the Appellplatz, the entire population of the
        camp has been concentrated, some fifteen thousand prisoners.

        155. EXT. APPELLPLATZ - PLASZOW - DAY 155.

        Though the music and banners struggle to evoke a country
        fair, the presence of the doctors belie it. A sorting out
        process is going on here, the healthy from the unhealthy.

        A physician wipes at his brow with his handkerchief as
        several prisoners run back and forth, naked, before him. He
        makes his selections quickly: this one into this line, that
        one into that, and Goldberg moves them recording the names.

        Other groups of people run naked in front of other doctors
        and clerks. Notations are made and lines are formed. The
        sun beats down and the music lies.

        156. EXT. DEPOT - PLASZOW - DAY 156.

        Some still pulling their clothes back on, the first wave of
        the “unfit” is marched onto the platform. A guard slides
        open the gate of a cattle car and this first unlucky group
        climbs aboard.

        157. EXT. APPELLPLATZ - PLASZOW - DAY 157.

        Behind the camouflage of other women prisoners, Mila
        Pfefferberg rubs a beet against her cheeks in desperate hope
        of adding a little color to her skin.

        Amon Goeth, his shirtsleeves uncharacteristically rolled up,
        chats with one of the doctors as another group strips.
        Whether the topic is this Health Aktion or the unseasonable
        weather is unclear, but he nods approvingly.

        PFEFFERBERG (O.S.)
        Commandant, sir.

        Goeth glances up, finds Poldek among the group taking off
        their clothes. Pfefferberg appeals to him with a look that
        asks, Do I really have to go through this, and Goeth turns to
        a clerk.
        89.


        GOETH
        My mechanic.

        Pfefferberg is motioned away from the others; he’s okay, he
        doesn’t have to be put through this indignity. He calls out
        to the Commandant again-

        PFEFFERBERG
        What about my wife?

        Goeth thinks about it a moment before he nods, Yeah, okay,
        sure. A clerk accompanies Pfefferberg and, making a notation
        on the way, finds Mila.
        Genres: ["Drama","War"]

        Summary In this scene, the workers in the factory debate who will go upstairs to thank Schindler on his birthday. Upstairs, Schindler celebrates his birthday with friends and lovers, receiving congratulations and embraces from SS men. A Jewish girl timidly approaches Schindler and wishes him a happy birthday. Schindler kisses her on the mouth and asks her to thank the workers for him. The scene then transitions to the Appellplatz in Plaszow, where preparations are being made for a sorting process to separate the healthy from the unhealthy prisoners. Mila Pfefferberg appeals to Amon Goeth to spare him from the process, and Goeth allows him to be exempted along with his wife.
        Strengths
        • Effective portrayal of power dynamics
        • Tense atmosphere
        • Highlighting the dangerous situation faced by the Jewish workers
        Weaknesses
        • Lack of deeper character development
        • Limited emotional impact
        • Minimal character changes

        Ratings
        Overall

        Overall: 8

        The scene effectively conveys the tense atmosphere and the power dynamics between Schindler and the SS men. It also highlights the dangerous situation faced by the Jewish workers. However, the scene could have been more impactful if there was more conflict and emotional depth.


        Story Content

        Concept: 7

        The concept of the scene, which focuses on Schindler's birthday celebration and the power dynamics between him and the SS men, is well-executed. However, it could have been further developed to create more conflict and emotional depth.

        Plot: 7

        The plot of the scene revolves around Schindler's birthday celebration and the interactions between him, the SS men, and the Jewish workers. While the plot effectively conveys the tense atmosphere and power dynamics, it could have been more engaging with additional conflicts and character development.

        Originality: 9

        This scene demonstrates a high level of originality through its portrayal of the complex dynamics between the protagonist, the SS men, and the Jewish workers. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


        Character Development

        Characters: 8

        The characters in the scene, particularly Schindler and the SS men, are well-portrayed and their interactions effectively convey the power dynamics and tension. However, more depth and development could have been given to the characters to enhance the emotional impact.

        Character Changes: 5

        There is minimal character change in the scene, with the focus primarily on the power dynamics and tense atmosphere. More character development and transformation could have added depth to the scene.

        Internal Goal: 8

        The protagonist's internal goal in this scene is to maintain his facade and protect the Jewish workers. It reflects his deeper desire to save as many lives as possible and his fear of being discovered by the SS.

        External Goal: 7

        The protagonist's external goal in this scene is to navigate the tense situation and maintain control over the party. It reflects the immediate challenge of balancing his relationships with the SS men and the Jewish workers.


        Scene Elements

        Conflict Level: 6

        The scene has a moderate level of conflict, primarily stemming from the power dynamics between Schindler and the SS men. However, additional conflicts and tensions could have been introduced to enhance the dramatic impact.

        Opposition: 8

        The opposition in this scene is strong, as the protagonist faces the challenge of maintaining his facade and protecting the Jewish workers while navigating his relationships with the SS men.

        High Stakes: 6

        The stakes in the scene are moderately high, with the Jewish workers facing the constant threat of violence and the potential consequences of their actions. However, higher stakes and more tension could have been introduced to increase the dramatic impact.

        Story Forward: 7

        The scene moves the story forward by highlighting the dangerous situation faced by the Jewish workers and the power dynamics between Schindler and the SS men. However, it could have been more impactful with stronger plot developments.

        Unpredictability: 8

        This scene is unpredictable because it includes unexpected moments, such as the protagonist kissing a Jewish girl in front of the SS men. The audience is unsure of how the characters will react to these actions.

        Philosophical Conflict: 9

        There is a philosophical conflict evident in this scene between the protagonist's belief in the value of human life and the SS men's adherence to Nazi ideology. This challenges the protagonist's values and worldview.


        Audience Engagement

        Emotional Impact: 6

        The scene has some emotional impact, particularly in conveying the fear and tension faced by the Jewish workers. However, it could have been more emotionally charged and impactful with deeper character development and higher stakes.

        Dialogue: 7

        The dialogue in the scene effectively conveys the tense atmosphere and power dynamics. However, it could have been more impactful with more emotionally charged and memorable lines.

        Engagement: 9

        This scene is engaging because it presents a tense and dramatic situation, with the protagonist navigating a delicate balance between his relationships with the SS men and the Jewish workers. The conflict and suspense keep the audience invested in the scene.

        Pacing: 9

        The pacing of the scene contributes to its effectiveness by alternating between moments of celebration and tension, creating a dynamic and engaging rhythm.


        Technical Aspect

        Formatting: 9

        The formatting of this scene follows the expected format for its genre, with proper indentation, dialogue formatting, and scene transitions.

        Structure: 8

        The structure of this scene follows the expected format for its genre, with clear scene headings and descriptions of the setting and characters.


        Critique
        • The scene transitions abruptly from Schindler's birthday celebration to the grim morning routine at the Plaszow camp, which may feel jarring to the reader.
        • The significance of Schindler's birthday celebration is not clear, and it is unclear how this scene connects to the overall narrative arc of the story.
        • The scene contains a lot of description of the camp and its routines, but it lacks clear conflict or tension to drive the narrative forward.
        • The scene with Goeth and the prisoners' Health Aktion could be more impactful if it focused on the emotional experience of the prisoners undergoing the selection process.
        Suggestions
        • Consider clarifying the significance of Schindler's birthday celebration and how it relates to the overall narrative.
        • Introduce conflict or tension into the scene to drive the narrative forward, such as by showing the impact of Goeth's stealing on the camp or the workers' fear of being sent to another camp.
        • Focus on the emotional experience of the prisoners undergoing the Health Aktion, and consider showing the impact of this process on a particular character to create a more personal connection for the reader.
        • Consider cutting or condensing some of the more detailed descriptions of the camp and its routines, in order to create a more streamlined and focused scene.



        Scene 26 -  Desperate Prisoners and Schindler's Proposal
        158. EXT. DEPOT - PLASZOW - DAY 158.

        The sun is higher, the cattle cars hotter. Prisoners’ arms
        stretch out between the slats offering diamonds in exchange
        for a sip of water.

        159. EXT. PLASZOW - LATER - DAY 159.

        The needle of the phonograph is set down on another record, a
        children’s song, “Mammi, kauf mir ein Pferdchen” (Mommy, buy
        me a pony).

        Children are yanked from the arms of their parents. Wailing
        protests quickly escalate to brawls with the guards.

        Revolvers and rifles aim at the sun and fire. Music, shots,
        wails.

        160. INT. BARRACKS - SAME TIME - DAY 160.

        Guards traipse through a deserted barracks peering up at the
        rafters, pulling planks from the floor, upending cots,
        looking for some children.

        161. EXT. BARRACKS - SAME TIME - DAY 161.

        A small figure in red sprints across to another barracks,
        past it, to a crude wooden structure beyond it.
        90.


        162. INT. MEN’S LATRINES - SAME TIME - DAY 162.

        An arm held out to either side, the small girl lowers herself
        into a pit into which men have defecated. She works her way
        slowly down, trying to find knee- and toeholds on the foul
        walls, ignoring the flies invading her ears, her nostrils.

        Reaching the surface of the muck she lets her feet submerge,
        then her ankles, her shins, her knees, before finally
        touching harder ground. As she struggles to slow her
        breathing, her racing heart, she hears a hallucinatory
        murmur -

        BOY’S VOICE
        This is our place.

        She sees eyes in the darkness; five other children are
        already there.

        163. EXT. DEPOT - PLASZOW - LATER - DAY 163.

        Waves of heat rise from the roofs of the long string of
        cattle cars. Inside, those who “failed” the medical exams
        bake as they wait for the last cars to be filled.

        Schindler’s Mercedes pulls up. He climbs out and stares
        transfixed. He notices Goeth then, standing with the other
        industrialists, Bosch and Madritsch, and strolls over to
        them.

        GOETH
        I tried to call you, I’m running a little
        late, this is taking longer than I
        thought. Have a drink.

        SCHINDLER
        What’s going on?

        GOETH
        I got a shipment of Hungarians coming in,
        I got to make room for them. It’s always
        something.
        91.


        He glances away at the train. The idling engine only
        partially covers the desperate pleas for water coming from
        inside the slatted cars.

        GOETH
        They’re complaining now? They don’t know
        what complaining is.

        He grins. Schindler watches as another car is loaded. It’s
        like they’re climbing into an oven.

        SCHINDLER
        What do you say we get your fire brigade
        out here and hose down the cars?

        Goeth stares at him blankly, then with a What-will-you-think-
        of-next? kind of look, then laughs uproariously and calls
        over to Hujar -

        GOETH
        Bring the fire trucks!

        HUJAR
        What?

        Hujar heard him, he just doesn’t get it. Finally he turns to
        another guy and tells him to do it.

        STREAM OF WATER CASCADE onto the scalding rooftops. The fire
        trucks are there, the hoses firing the cold water at the cars
        on the people inside who are roaring their gratitude.

        GOETH
        This is really cruel, Oskar, you’re
        giving them hope. You shouldn’t do that,
        that’s cruel.

        And amusing, not just to Goeth, but to the other SS officers
        standing around as well. Oskar moves away to talk with one
        of the firemen. At full extension, apparently the hoses
        still only reach halfway down the long line of cars. He
        returns to Goeth.
        92.


        SCHINDLER
        I’ve got some 200-meter hoses back at
        D.E.F., we can reach the cars down at the
        end.

        Goeth finds this especially sidesplitting, and hollers -

        GOETH
        Hujar!

        THE D.E.F. HOSES have arrived and are being coupled to
        Plaszow’s. As the water drenches the cars further back, the
        people inside loudly voice their thanks, and the guards and
        officers outside grin at the spectacle.

        GUARD
        What does he think he’s saving them from?

        The joke takes on new dimension when, from the back of the
        D.E.F. trucks, boxes of food are unloaded. Accompanied by
        the laughter of the SS, Schindler moves along the string of
        cars pushing sausages through the slats.

        GOETH
        Oh, my God.

        Goeth is almost hysterical. But slowly then, slowly, the
        amusement on his face fades. His friend moving along the
        cars bringing futile mercy to the doomed in front of
        countless SS men, laughing or not, is not just behaving
        recklessly here, it’s as though he were possessed.

        The water rains down on the last car.
        Genres: ["Drama","War"]

        Summary In this scene at the depot in Plaszow, the prisoners in the cattle cars suffer from the heat and desperately ask for water. Children are separated from their parents, leading to a brawl. Guards search for children while a small girl in red runs to a wooden structure. Meanwhile, Schindler arrives and talks to Goeth about the shipment of Hungarians. Schindler suggests using fire trucks to hose down the cars and bring hope to the prisoners. The fire trucks arrive and water is sprayed on the cars. Schindler proposes using longer hoses from D.E.F. to reach the cars at the end. Food is unloaded from the trucks and Schindler pushes sausages through the slats. Goeth initially finds it amusing but slowly realizes the gravity of the situation. The scene ends with the water raining down on the last car and Goeth slowly realizing the gravity of the situation.
        Strengths
        • Effective portrayal of contrasting characters
        • Tension and emotional impact
        • Exploration of power dynamics and compassion
        Weaknesses
        • Minimal dialogue

        Ratings
        Overall

        Overall: 9

        The scene effectively portrays the tension and cruelty of the situation, while also providing a glimmer of hope through Schindler's actions. The contrast between the characters and their responses to the suffering adds depth and complexity to the scene.


        Story Content

        Concept: 8

        The concept of contrasting characters and their responses to suffering is well-executed in the scene. It explores the themes of power, justice, and compassion in a compelling way.

        Plot: 8

        The plot of the scene revolves around the loading of prisoners into cattle cars and Schindler's attempt to provide some relief through water and food. It effectively conveys the dire situation and the characters' reactions to it.

        Originality: 9

        This scene demonstrates a high level of originality. The situation of prisoners in a concentration camp during World War II is a familiar one, but the writer brings fresh approaches by highlighting the protagonist's efforts to provide relief and hope in the midst of extreme suffering. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


        Character Development

        Characters: 9

        The characters of Schindler and Goeth are well-developed and their contrasting personalities and actions drive the scene. Schindler's compassion and Goeth's sadistic amusement create tension and emotional impact.

        Character Changes: 7

        While there is not significant character change in this scene, it further establishes the contrasting personalities of Schindler and Goeth.

        Internal Goal: 8

        The protagonist's internal goal in this scene is to provide hope and relief to the prisoners by offering them water, food, and a momentary escape from their suffering. This reflects the protagonist's deeper desire to alleviate the suffering of others and maintain their own humanity in a dehumanizing environment.

        External Goal: 7

        The protagonist's external goal in this scene is to find a way to help the prisoners and provide them with water, food, and relief from the heat. This reflects the immediate circumstances and challenges of the prisoners' suffering and the protagonist's desire to alleviate it.


        Scene Elements

        Conflict Level: 8

        The conflict in the scene arises from the contrasting actions and attitudes of Schindler and Goeth, as well as the desperate situation of the prisoners. It creates tension and drives the narrative forward.

        Opposition: 7

        The opposition in this scene is strong, as the guards and SS officers represent a significant obstacle to the protagonist's goal of providing relief to the prisoners. The audience is unsure of how the guards will react to the protagonist's actions.

        High Stakes: 9

        The stakes are high in the scene as the prisoners face dire conditions and the characters' actions have life-or-death consequences.

        Story Forward: 8

        The scene moves the story forward by highlighting the worsening conditions for the prisoners and deepening the conflict between Schindler and Goeth.

        Unpredictability: 7

        This scene is unpredictable because it introduces unexpected moments of relief and humanity in the midst of extreme suffering. The reader is unsure of how the guards and SS officers will react to the protagonist's actions.

        Philosophical Conflict: 9

        The philosophical conflict evident in this scene is the clash between compassion and cruelty. The protagonist's actions of providing water, food, and relief to the prisoners challenge the beliefs and values of the guards and SS officers, who find amusement in the suffering of others.


        Audience Engagement

        Emotional Impact: 9

        The scene evokes strong emotions through its portrayal of suffering, hope, and the characters' contrasting responses. It elicits empathy and creates a sense of urgency.

        Dialogue: 7

        The dialogue in the scene is minimal but impactful. It effectively conveys the characters' emotions and motivations.

        Engagement: 9

        This scene is engaging because it creates a sense of tension and anticipation through the juxtaposition of extreme suffering and moments of unexpected humanity. The reader is drawn into the protagonist's efforts to provide relief and the conflict between compassion and cruelty.

        Pacing: 8

        The pacing of the scene contributes to its effectiveness by creating a sense of tension and anticipation. The concise and impactful description and dialogue maintain a steady rhythm and keep the reader engaged.


        Technical Aspect

        Formatting: 9

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

        Structure: 8

        The structure of this scene follows the expected format for its genre. It includes clear scene headings, concise and impactful description, and dialogue that advances the plot and reveals character motivations.


        Critique
        • The scene is very detailed and vivid, creating a strong sense of place and atmosphere. The juxtaposition of Schindler's birthday celebration with the sorting process and the plight of the prisoners is particularly effective in highlighting the stark contrast between their experiences.
        • The dialogue is sparse, but effective in conveying the characters' emotions and motivations. The use of the boy's voice in the latrine scene adds an eerie and surreal touch to the scene.
        • The scene is emotionally charged, with the tension and fear of the prisoners palpable throughout. The guards' callousness and cruelty towards the prisoners is particularly unsettling.
        Suggestions
        • Consider adding more dialogue between Schindler and the other characters to further develop their relationships and motivations. This could help to add depth to the scene and make it more engaging for the reader.
        • Consider adding more sensory details to the scene, such as sounds, smells, and textures, to further immerse the reader in the world of the story. This could help to make the scene more vivid and memorable.
        • Consider adding more context to the scene to help the reader understand the larger narrative and the characters' roles within it. This could help to make the scene more meaningful and impactful for the reader.



        Scene 27 -  Arrest and Confession
        165. EXT. D.E.F. - DAY 165.

        A German staff car pulls in across the factory gate, blocking
        it. Two Gestapo men climb out.
        93.


        166. INT. D.E.F. FACTORY - DAY 166.

        The girl who brought Schindler best wishes on his birthday
        glances up from her work to the Gestapo crossing through the
        factory. They climb the stairs to the upstairs offices and,
        moments later, appear behind Schindler’s wall of glass.

        167. INT. SCHINDLER’S OFFICE - DAY 167.

        Schindler leaning against his desk, drink in his hand, calmly
        tries to assess his humorless arresters.

        SCHINDLER
        I’m not saying you’ll regret it, but you
        might. I want you to be aware of that.

        GESTAPO 1
        We’ll risk it.

        Schindler glances beyond them to a point outside his office,
        to Klonowska. She nods, she knows what to do, she’ll make
        the phone calls, call in the favors.

        SCHINDLER
        All right, sure, it’s a nice day, I’ll go
        for a drive with you guys.

        He snuffs out his cigarette.

        168. INT. GESTAPO CAR - MOVING - DAY 168.

        Settled comfortably in the backseat, Schindler glances idly
        out the window. As the car makes a turn, though, he looks
        back. Apparently he expected it to turn the other way.

        SCHINDLER
        Where are we going?

        The guys up front don’t answer. Concern, for the first time,
        registers on Schindler’s face. The car approaches a building
        block long with an ominous sameness to the windows.
        94.


        169. INT. MONTELUPICH PRISON - CRACOW - DAY 169.

        Schindler is made to empty his pockets, his money,
        cigarettes, everything. Around him clerks speak in whispers,
        as if raised voices might set off head-splitting echoes along
        the narrow monotonous corridors.

        170. INT. MONTELUPICH PRISON - DAY 170.

        He’s led down a flight of stairs into a claustrophobic
        tunnel. He’s taken past darkened cells. Past shadowy figures
        crouched in corners and on the floor.

        171. INT. CELL, MONTELUPICH PRISON - DAY 171.

        A water bucket. A waste bucket. No windows. This is not a
        cell for dignitaries; this arrest is different.

        Schindler, incongruous with the dank surroundings in his
        double-breasted suit, slowly paces back and forth before his
        cellmate, a soldier who looks like he’s been here forever,
        his greatcoat pulled up around his ears for warmth.

        SCHINDLER
        I violated the Race and Resettlement Act.
        Though I doubt they can point out the
        actual provision to me.
        (pause)
        I kissed a Jewish girl.

        Schindler forces a smile. His cellmate just stares. Now
        there’s a crime; much more impressive, much more serious,
        than his own.
        Genres: ["Drama","War"]

        Summary Schindler is arrested by the Gestapo and taken to Montelupich Prison. He is stripped of his belongings and led through a claustrophobic tunnel to a cell. In the cell, he confesses to his cellmate that he violated the Race and Resettlement Act by kissing a Jewish girl.
        Strengths
        • Intense and dramatic moments
        • Effective portrayal of emotions
        • Strong emotional impact
        Weaknesses

          Ratings
          Overall

          Overall: 9

          The scene is highly impactful and intense, effectively conveying the gravity of the situation and the danger Schindler is facing. The tension is palpable, and the audience is left on edge, wondering about the fate of the protagonist.


          Story Content

          Concept: 8

          The concept of Schindler's arrest and imprisonment adds a significant layer of conflict and raises the stakes for the protagonist. It also highlights the risks he has taken and the potential consequences of his actions.

          Plot: 9

          The plot of the scene revolves around Schindler's arrest and imprisonment, which is a crucial turning point in the story. It propels the narrative forward and sets up further conflicts and challenges for the protagonist.

          Originality: 8

          This scene demonstrates a level of originality through its portrayal of the protagonist's internal and external goals within the context of World War II. The authenticity of the characters' actions and dialogue adds to the originality.


          Character Development

          Characters: 9

          The characters in the scene, particularly Schindler, are well-developed and their emotions and motivations are effectively portrayed. The audience feels a strong connection to the characters and their plight.

          Character Changes: 8

          Schindler undergoes a significant change in this scene as he is arrested and imprisoned. He is forced to confront the consequences of his actions and the risks he has taken.

          Internal Goal: 8

          The protagonist's internal goal in this scene is to maintain his composure and negotiate with the Gestapo agents. It reflects his deeper need to protect the Jewish workers and his fear of being caught and punished for his actions.

          External Goal: 7

          The protagonist's external goal in this scene is to cooperate with the Gestapo agents and avoid suspicion. It reflects the immediate circumstances of being arrested and facing potential consequences for his actions.


          Scene Elements

          Conflict Level: 9

          The conflict in the scene is intense and multi-layered. There is the external conflict between Schindler and the Gestapo, as well as the internal conflict within Schindler himself as he grapples with the consequences of his actions.

          Opposition: 8

          The opposition in this scene is strong as the protagonist faces the threat of arrest and imprisonment by the Gestapo agents. The audience is unsure of how the situation will unfold.

          High Stakes: 10

          The stakes in the scene are extremely high as Schindler's freedom and potentially his life are at risk. The audience is deeply invested in the outcome and the consequences of his arrest.

          Story Forward: 9

          The scene moves the story forward by introducing a major obstacle for the protagonist and raising the stakes. It sets up further conflicts and challenges for Schindler and propels the narrative towards its climax.

          Unpredictability: 7

          This scene is unpredictable because the audience doesn't know how the protagonist's negotiation with the Gestapo agents will unfold and what the consequences will be.

          Philosophical Conflict: 9

          There is a philosophical conflict evident in this scene between the protagonist's belief in protecting the Jewish workers and the Gestapo agents' adherence to Nazi ideology. This conflict challenges the protagonist's values and worldview.


          Audience Engagement

          Emotional Impact: 10

          The scene evokes strong emotions in the audience, particularly fear, anxiety, and empathy for Schindler. The intense and dramatic moments create a powerful emotional impact.

          Dialogue: 8

          The dialogue in the scene is concise and impactful, effectively conveying the tension and fear of the situation. It reveals important information about Schindler's actions and the consequences he may face.

          Engagement: 9

          This scene is engaging because it presents a high-stakes situation and creates suspense through the protagonist's interactions with the Gestapo agents.

          Pacing: 8

          The pacing of the scene contributes to its effectiveness by gradually building tension and suspense, leading to the climax of the protagonist's arrest.


          Technical Aspect

          Formatting: 9

          The formatting of this scene follows the expected format for its genre, with proper indentation, dialogue formatting, and scene transitions.

          Structure: 9

          The structure of this scene follows the expected format for its genre, with clear scene headings and concise descriptions of the actions and dialogue.


          Critique
          • The scene transitions quickly from the previous one, which might make it feel abrupt and jarring for the reader. Consider adding a line or two to smooth the transition and provide context for Schindler's arrest.
          • The dialogue between Schindler and the Gestapo is somewhat generic and could benefit from more specificity to give the reader a better sense of the stakes and the nature of Schindler's violation. Consider adding more detail to the conversation to make it more engaging and informative.
          • The scene in the prison cell is interesting, but the revelation that Schindler kissed a Jewish girl feels somewhat anticlimactic given the build-up of the previous scene. Consider adding more tension or drama to this moment to make it more impactful.
          • The scene ends somewhat abruptly with Schindler pacing in his cell. Consider adding a final line or two to provide a sense of closure or to set up the next scene.
          Suggestions
          • Add a line or two at the beginning of the scene to provide context for Schindler's arrest and smooth the transition from the previous scene.
          • Add more specificity to the dialogue between Schindler and the Gestapo to give the reader a better sense of the stakes and the nature of Schindler's violation.
          • Consider adding more tension or drama to the moment when Schindler reveals that he kissed a Jewish girl to make it more impactful.
          • Add a final line or two to provide a sense of closure or to set up the next scene.



          Scene 28 -  Failed Justification and Tragic Melancholy
          172. INT. OFFICE - MONTELUPICH PRISON - DAY 172.

          In a stiff-backed chair sits a very unlikely defender of
          racial improprieties - Amon Goeth. To an impassive SS
          colonel behind a desk, Goeth tries to highlight extenuating
          circumstances:
          95.


          GOETH
          He likes women. He likes good-looking
          women. He sees a good-looking woman, he
          doesn’t think. This guy has so many
          women. They love him. He’s married, he’s
          got all these women. All right, she was
          Jewish, he shouldn’t have done it. But
          you didn’t see this girl. I saw this
          girl. This girl was very good-looking.

          Goeth tries to read the guy behind the desk, but his face is
          like a wall.

          GOETH
          They cast a spell on you, you know, the
          Jews. You work closely with them like I
          do, you see this. They have this power,
          it’s like a virus. Some of my men are
          infected with this virus. They should be
          pitied, not punished. They should
          receive treatment, because this is as
          real as typhus. I see this all the time.

          Goeth shifts in his chair; he knows he’s not getting anywhere
          with this guy. He switches tacts:

          GOETH
          It’s a matter of money? We can discuss
          that. That’d be all right with me.

          In the silence that follows, Goeth realizes he has made a
          serious error in judgment. This man sitting soberly before
          him is one of that rare breed - the unbribable official.

          SS COLONEL
          You’re offering me a bribe?

          GOETH
          A “bribe?” No, no, please come on …a
          gratuity.
          96.


          Suddenly the man stands up and salutes, which thoroughly
          confuses Goeth since Goeth is his inferior in rank. But he
          isn’t saluting Goeth, he’s saluting the officer who has just
          stepped into the room behind him.

          SCHERNER
          Sit down.

          The colonel sits back down. Scherner pulls up a chair next
          to Goeth.

          SCHERNER
          Hello, Amon.

          GOETH
          Sir.

          Scherner smiles and allows Goeth to shake his hand, but it’s
          clear, even to Goeth himself, that he has fallen from grace.

          173. INT. GOETH’S VILLA - PLASZOW - NIGHT 173.

          A tall, thin, gray Waffen SS officer has a request for the
          Rosner brothers.

          SS OFFICER
          I want to hear “Gloomy Sunday” again.

          He’s drunk, morose; it seems unlikely he’ll be on his feet
          much longer. Indeed, as Henry and Leo Rosner begin the son -
          an excessively melancholy tale in which a young man commits
          suicide for love - the field officer staggers over to a chair
          in the corner of the crowded room and slumps into it.

          SCHERNER
          We give you Jewish girls at five marks a
          day, Oskar, you should kiss us, not them.

          Goeth laughs too loud, drawing a weary glance from Scherner.
          Schindler smiles good-naturedly. He’s out, a little worse
          for wear perhaps, a little more subdued than usual. Taking
          him away from the others, taking him into his confidence -
          97.


          GOETH
          God forbid you ever get a real taste for
          Jewish skirt. There’s no future in it.
          No future. They don’t have a future.
          And that’s not just good old-fashioned
          Jew-hating talk. It’s policy now.

          THE THIN GRAY SS OFFICER is back in front of the musicians,
          swaying precariously, a drink in his hand -

          SS OFFICER
          “Gloomy Sunday” again.

          Again they play the song. Again he staggers across the
          crowded room to his chair in the corner, paying no attention
          to the visiting Commandant from Treblinka or anybody else -

          TREBLINKA GUY
          - We can process at Treblinka, if
          everything is working? I don’t know,
          maybe two thousand units a day.

          He shrugs like it’s nothing, or with modesty, it’s unclear.
          Goeth is dully impressed; Schindler, only politely so.

          TREBLINKA GUY
          Now Auschwitz. Now you’re talking. What
          I got is nothing, it’s like a…a machine.
          Auschwitz, though, now there’s a death
          factory. There, they know how to do it.
          There, they know what they’re doing.

          AGAIN THE GRAY OFFICER wavering before Henry and Leo. This
          time they don’t wait for him to ask for it -

          LEO ROSNER
          “Gloomy Sunday”

          As the man stumbles back to his chair, the Rosners not only
          play the song again, they play with it, and him, this one
          somber man in the corner staring at them almost gratefully,
          wrenching from the song all the sentimentality they can, as
          if they could actually drive him to kill himself.
          98.


          No one else in the room is aware of the exchange going on
          between them - this man and this music - which the brothers
          play as if it were an invocation. Eventually, though,
          someone does become aware, if not of the intention, at least
          of the repetition, and interrupts the spell -

          GOETH
          Enough - Jesus - God -

          The music falls apart. The brothers find Goeth in the crowd
          looking at them like, Come on, for Christ’s sake play
          something else. Which they do - defeated - some innocuous
          Von Suppe. Goeth turns back to one of his guests.

          Glancing back, as they play, to the corner, the Rosners see
          the gloomy SS officer getting slowly up from his chair. He
          stands there for a moment, staring at nothing, then slowly
          makes his way out onto the balcony where he stands in the
          night air, absolutely still, in silhouette to the Rosners.

          And, ruining a perfectly good party, he takes out a gun and
          shoots himself in the head.
          Genres: ["Drama","War"]

          Summary In this scene, Amon Goeth fails to justify his actions to an SS colonel, leading to a realization of his error. Meanwhile, at Goeth's villa, the Rosner brothers repeatedly play a melancholy song for a thin gray SS officer who eventually shoots himself in the head.
          Strengths
          • Powerful emotional impact
          • Effective contrast between celebration and suffering
          • Compelling exploration of moral ambiguity
          Weaknesses
          • Limited character development in this specific scene

          Ratings
          Overall

          Overall: 9

          The scene effectively conveys the tension and despair of the prisoners while showcasing the indifference and callousness of the SS officers. The contrast between the birthday celebration and the sorting process creates a powerful emotional impact.


          Story Content

          Concept: 8

          The concept of contrasting the lavish celebration with the inhumane treatment of prisoners is compelling and thought-provoking. It highlights the moral ambiguity and complexity of the characters and the situation.

          Plot: 7

          The plot in this scene focuses on the juxtaposition of the birthday celebration and the sorting process. It effectively conveys the power dynamics and the emotional toll of the Holocaust.

          Originality: 7

          The level of originality in this scene is moderate. While the topic of racial improprieties and the power dynamics between characters are not unique, the specific dialogue and interactions between the characters provide fresh insights into their motivations and beliefs. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


          Character Development

          Characters: 8

          The characters in this scene are well-developed and their actions and dialogue reveal their moral dilemmas and conflicts. Schindler's defense of Goeth and the SS officers' indifference towards the prisoners showcase their complex personalities.

          Character Changes: 7

          While there are no significant character changes in this scene, it deepens our understanding of the characters' moral dilemmas and conflicts.

          Internal Goal: 8

          The protagonist's internal goal in this scene is to defend racial improprieties and justify his actions. This reflects his desire to maintain his power and control, as well as his fear of facing consequences for his actions.

          External Goal: 7

          The protagonist's external goal in this scene is to convince the SS colonel to consider extenuating circumstances and potentially offer a bribe. This reflects the immediate challenge of trying to avoid punishment for his actions.


          Scene Elements

          Conflict Level: 8

          The conflict in this scene arises from the contrasting perspectives and actions of the characters. The tension between Schindler and Goeth, as well as the desperation and suffering of the prisoners, create a palpable sense of conflict.

          Opposition: 9

          The opposition in this scene is strong, as Amon Goeth faces resistance from the SS colonel and realizes he has made a serious error in judgment. The audience is unsure of how the conflict will be resolved.

          High Stakes: 9

          The stakes in this scene are high as it showcases the life-and-death consequences faced by the prisoners and the moral choices made by the characters.

          Story Forward: 8

          The scene provides important context and development for the characters and the overall narrative. It deepens the understanding of the moral complexities and the stakes involved.

          Unpredictability: 7

          This scene is unpredictable because it is unclear how the SS colonel will respond to Amon Goeth's arguments and offer. The audience is left wondering if Goeth will be successful in his attempts to avoid punishment.

          Philosophical Conflict: 9

          There is a philosophical conflict evident in this scene between the protagonist's belief in the power and influence of the Jews and the SS colonel's belief in their guilt and need for punishment. This challenges the protagonist's values and worldview.


          Audience Engagement

          Emotional Impact: 10

          The scene evokes a strong emotional response from the audience, eliciting feelings of sadness, despair, and hope. The contrast between the celebration and the suffering of the prisoners intensifies the emotional impact.

          Dialogue: 8

          The dialogue in this scene effectively conveys the tension, despair, and moral ambiguity of the characters. The conversations between Schindler, Goeth, and the SS officers reveal their conflicting perspectives and motivations.

          Engagement: 8

          This scene is engaging because it presents a conflict between the characters and raises questions about their motivations and beliefs. The tension and power dynamics keep the audience interested in the outcome of the scene.

          Pacing: 8

          The pacing of the scene contributes to its effectiveness by maintaining a steady rhythm and building tension through the characters' dialogue and actions.


          Technical Aspect

          Formatting: 9

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

          Structure: 9

          The structure of this scene follows the expected format for its genre. It begins with a description of the setting, introduces the characters, and progresses through their dialogue and actions.


          Critique
          • The scene transitions are abrupt and could be smoother to improve the flow of the story.
          • The introduction of new characters in the middle of the scene, such as the thin gray SS officer, can be confusing and may require more context or introduction.
          • The dialogue could be tightened up to improve pacing and clarity. Some lines seem to repeat the same information or could be combined for efficiency.
          • The tone of the scene can be uneven, shifting from serious to humorous and back again. It may be more effective to choose one tone and stick with it throughout the scene.
          Suggestions
          • Consider adding more transitional language or visual cues to help the reader follow the scene changes more easily.
          • Provide more context or introduction for new characters to help the reader understand their role and significance in the scene.
          • Edit the dialogue to remove repetitive or unnecessary lines and focus on the key points of the conversation.
          • Choose a consistent tone for the scene and revise the dialogue and action to support that tone.



          Scene 29 -  Schindler's Descent
          174. EXT. D.E.F. - DAY 174.

          From a distance, Schindler can be seen arguing with an SS
          officer who’s trying to hand him papers, orders of some kind,
          which the irate industrialist refuses to accept.

          Here, closer, carrying blankets and bundles, Schindler’s
          workers are marched under heavy guard out of the factory and
          its annexes and across the fortified yard.

          His people are being taken. Where, is unclear. Schindler
          abruptly breaks off the discussion with the SS man, climbs
          into his car and drives off.

          175. EXT. FOREST - PLASZOW - LATER - DAY 175.

          A creek flowing gently through marshy ground under an
          umbrella of trees. Leo John and his five year old son, on
          their knees catching tadpoles, seem unaware of, or at least
          not distracted by, a ghastly endeavor going on beyond them:
          99.


          Bodies being exhumed out of the earth, out of the mass graves
          in the forest. The dead lay everywhere, victims of the
          ghetto massacre, victims of Plaszow.

          Arriving, Schindler sees Goeth standing up at the tree line.
          Approaching him, furious, he hesitates. He sees a
          wheelbarrow trundled by Pfefferberg, a corpse in it. He
          fears the body is Mila’s, but then sees her trundling another
          barrow, another corpse in it. Goeth calls to Schindler -

          GOETH
          Can you believe this?

          Goeth shakes his head, dismayed. Schindler joins him and
          stares at a pyre of bodies built by masked and gagging
          workers, layer upon layer.

          GOETH
          I’m trying to live my life, they come up
          with this? I got to find every body
          buried up here? And burn it?

          It’s always something. He glances off. The pyre has reached
          the height of a man’s shoulder. The workers move around it
          dousing it with gasoline.

          SCHINDLER
          You took my workers.

          GOETH
          (indignant)
          They’re taking mine. When I said they
          didn’t have a future I didn’t mean
          tomorrow.
          (pause)
          Auschwitz.

          SCHINDLER
          When?

          GOETH
          I don’t know. Soon.
          100.


          He sighs at the unfairness of it all, the dissolution of his
          kingdom. His glance finds his man, Leo John, over at the
          stream.

          GOETH
          This is good. I’m out of business and
          he’s catching tadpoles with his son.

          Tight on the gleeful boy with a tadpole in his hand. Behind
          him, smoke from the pyre rises into the sky.

          176. INT. D.E.F. FACTORY - NIGHT 176.

          Schindler, in silhouette against the wall of glass, stares
          down at his deserted factory, his silent machines, the dark
          empty spaces.

          177. INT. SCHINDLER’S APARTMENT - DAY 177.

          Light pouring in through the windows. White sheets over the
          furniture like shrouds over the dead. Schindler’s personal
          things are gone.

          178. EXT. POLAND/CZECHOSLOVAKIA BORDER - EVENING 178.

          Schindler’s Mercedes, the backseat piled high with suitcases.
          A border guard returns his passport to him. The barrier is
          lifted and he crosses into Czech countryside.

          179. INT. SQUARE, BRINNLITZ, CZECHOSLOVAKIA - MORNING 179.

          A church in the main square of a sleepy hamlet. A priest and
          his parishioners, including Emilie Schindler, emerging from
          it, morning Mass over.

          Some guys outside a bar/café, hanging gout, drinking, notice
          the elegantly dressed gentleman outside the town’s only
          hotel. They recognize him. They come over.

          SCHINDLER
          Hey, how you doing?
          101.


          BRINNLITZ GUY 1
          Look at this.

          Schindler, the clothes, the car, the suitcases, the great
          difference between their respective stations in life.
          Somehow their old ne’er-do-well friend has managed to do
          quite well, and it amazes them.

          Across the square, Emilie has noticed him; and he, her. But
          neither makes a move toward the other. Finally she walks
          away; which Schindler interprets correctly to mean, Yes,
          check into the hotel. He tips the porter extravagantly and
          turns back to the guys from the bar.

          SCHINDLER
          Let me buy you a drink.

          180. INT. BAR - BRINNLITZ - NIGHT 180.

          Except for the clothes of the working class clientele, the
          scene is reminiscent of the SS nightclub in Cracow:
          Schindler, the great entertainer, working his way around the
          tables making sure everybody’s got enough to drink, making
          sure everybody’s happy. A guy at a table with a girl
          gestures him over.

          BRINNLITZ GUY 2
          Oskar - my friend Lena.

          SCHINDLER
          How do you do?
          (to them both)
          What can I get you, what’re you drinking?

          BRINNLITZ GUY 2
          Nothing’s changed. Then again, something
          has changed, hasn’t it?

          SCHINDLER
          Things worked out. I made some money
          over there, had some laughs, you know. It
          was good.
          102.


          BRINNLITZ GUY 2
          Now you’re back.

          SCHINDLER
          Now I’m back, and you know what I’m going
          to do now? I’m going to have a good
          time. So are you.

          He gestures to the bartender to refill his friend’s and his
          date’s drinks, pats the guy on the shoulder and wanders over
          to the next table.

          GIRL
          Who is he?

          The guy has to think; not because he doesn’t know, but
          because his old friend Oskar is so many things it’s hard to
          know which description to use. Finally -

          BRINNLITZ GUY 2
          He’s a salesman.

          181. INT. HOTEL ROOM - BRINNLITZ - NIGHT 181.

          A woman asleep in the bed. The girl from the bar. In his
          robe, at the window, Schindler calmly smokes as he stares out
          at the NIGHT

          182. EXT. BRINNLITZ - DAWN 182.

          The town, off in the distance, nestled against the mountains.
          The sun, just coming up. Closer, here, ramshackle
          structures, a long abandoned factory of some kind.

          Schindler, in leather riding gear, climbs down off a Moto-
          Guzzi motorcycle. He slowly wanders around, peers in through
          broken windows, wanders around some more.

          Tight on his face, torn between conflicting choices, or
          realizing there’s no choice, or only one choice, and hating
          it.
          103.


          SCHINDLER
          Goddamn it.

          183. EXT. BALCONY, GOETH’S VILLA - PLASZOW - DAY 183.

          Schindler and Goeth on the balcony of the villa, drinking.

          GOETH
          You want these people.

          SCHINDLER
          These people, my people, I want my
          people.

          Goeth considers his friend, greatly puzzled. Below them lies
          the camp, still operating, at least for now, until the
          shipments can be arranged.

          GOETH
          What are you, Moses? What is this?
          Where’s the money in this? What’s the
          scam?

          SCHINDLER
          It’s good business.

          GOETH
          Oh, this is “good business” in your
          opinion. You’ve got to move them, the
          equipment, everything to Czechoslovakia -
          it doesn’t make any sense.

          SCHINDLER
          Look -

          GOETH
          You’re not telling me something.

          SCHINDLER
          It’s good for me - I know them, I’m
          familiar with them. It’s good for you -
          you’ll be compensated. It’s good for the
          Army. You know what I’m going to make?
          104.


          SCHINDLER
          Artillery shells. Tank shells. They need
          that. Everybody’s happy.

          GOETH
          Yeah, sure.

          Goeth finds this whole line of reasoning impossible to
          believe. He’s sure Schindler’s got something else going on
          here he’s not telling him.

          GOETH
          You’re probably scamming me somehow. If
          I’m making a hundred, you got to be
          making three.

          Schindler admits it with a shrug.

          GOETH
          If you admit to making three, then it’s
          four, actually. But how?

          SCHINDLER
          I just told you.

          GOETH
          You did, but you didn’t.

          Goeth studies him, searching for the real answer in his face.
          He can’t find it.

          GOETH
          Yeah, all right, don’t tell me, I’ll go
          along with it, it’s just irritating to me
          I can’t figure it out.

          SCHINDLER
          All you have to do is tell me what it’s
          worth to you. What’s a person worth to
          you.
          105.


          Goeth thinks about it in the silence. Then a slow nod to
          himself. He’s going to make some money out of this even if
          he can’t figure it out. He smiles.

          GOETH
          What’s one worth to you? That’s the
          question.

          HARD CUT TO:

          184 THE KEYS OF A TYPEWRITER slapping a name onto a list - 184

          LEVARTOV - the letters the size of buildings, the sound as
          loud as gunshots -

          TIGHT ON THE FACE OF A MAN - Rabbi Levartov - the hinge-maker
          Goeth tried to kill with a faulty revolver -

          THE KEYS HAMMER another name - PERLMAN -

          TIGHT ON TWO ELDERLY FACES - a man, a woman - the parents of
          “Elsa Krause.”

          IN HIS SMALL CLUTTERED PLASZOW OFFICE - Stern transcribes
          D.E.F. workers’ names from a Reich Labor Office document to
          the list in his typewriter, Schindler’s List.

          A NAME - A FACE - NAME - FACE - NAME -

          TIGHT ON SCHINDLER slowly pacing the six or seven steps
          Stern’s cramped office allows, nursing a drink.

          SCHINDLER
          Poldek Pfefferberg … Mila Pfefferberg …

          THE KEYS typing ‘PFEFFE- PFEFFERBERG’S face, tight. MILA’S
          face, tight.

          CURRENCY, hard Reichmarks, in a small valise. As Goeth looks
          at it, he mumbles to himself -

          GOETH
          A virus…
          106.


          MOVING DOWN THE LIST of names, forty, fifty. The sound of
          the keys. Stern pulls the sheet out of the machine, rolls in
          another, types a name.

          EQUIPMENT BEING LOADED onto trucks outside Madritsch’s
          Plaszow factory.

          SCHINDLER
          You can do the same thing I’m doing.
          There’s nothing stopping you.

          Madritsch is shaking his head ‘no’ to Schindler’s appeal to
          make his own list, to get his workers out.

          MADRITSCH
          I’ve done enough for the Jews.

          THE KEYS typing another name - A FACE, a man, A FACE, a
          woman, A FACE, a child -

          COGNAC SPILLING into a glass. The glass coming up to
          Schindler’s mouth, hesitating there.

          SCHINDLER
          The investors.

          A NAME - A FACE - one of the original D.E.F. investors.

          ANOTHER NAME - ANOTHER FACE - another of the Jewish
          investors.

          SCHINDLER
          All of them. Szerwitz, his family.

          STERN GLANCES UP with a look that asks Schindler if he’s sure
          about this one. He is. The keys type SZERWITZ -

          TIGHT ON THE FACE of the investor who stole from Schindler,
          the one he threatened to have killed by the SS, and the faces
          of his sons -

          THREE OR FOUR PAGES of names next to the typewriter. Stern,
          trying to count them, estimates -
          107.


          STERN
          Four hundred, four fifty -

          SCHINDLER
          More.

          THE TRUNK OF SCHINDLER’S MERCEDES yawning open. He takes a
          small valise from it and heads for Goeth’s villa.

          THE KEYS typing ROSNER -

          TIGHT ON Henry Rosner, the violinist. TIGHT ON his brother,
          Leo, the accordionist.

          SCHINDLER AND BOSCH, the other Plaszow industrialist. The
          same appeal Schindler made to Madritsch; the same answer,
          ‘no.’

          MOVING DOWN another page of names.

          STERN (O.S.)
          About six hundred -

          SCHINDLR (O.S.)
          More.

          THE SOUND OF THE KEYS OVER the face of a boy, the “chicken
          thief.” Over THE FACE OF A GIRL, the one who hid in the pit
          of excrement. Over the FACES we’ve never seen.

          STERN (O.S.)
          Eight hundred, give or take.

          SCHINDLER
          (angrily)
          Give or take what, Stern - how many -
          count them.

          STERN RUMS HIS FINGER down the pages of names, trying to
          count them more precisely.

          BLACKJACK, dealt by GOETH. They’re betting diamonds, he and
          Schindler. A queen falls and Goeth groans his misfortune.
          108.


          THE FACE OF Goeth’s maid.

          GOETH SWEEPS his hold card against the table, is thrown a
          four, sweeps it again and gets a jack.

          A NAME we don’t recognize is typed.

          A FACE we don’t recognize.
          Genres: ["Drama","War"]

          Summary In this scene, Schindler argues with an SS officer and refuses to accept papers. His workers are then marched out of the factory under heavy guard. Schindler drives off and later arrives at a forest where bodies are being exhumed. He has a conversation with Goeth about the situation and the upcoming transport to Auschwitz. The scene then shifts to Schindler staring at his deserted factory, his empty apartment, and finally crossing the Poland/Czechoslovakia border. He arrives in Brinnlitz and is recognized by old friends. Schindler checks into a hotel and later goes to a bar where he socializes with the locals. The scene ends with Schindler in a hotel room, smoking and looking out the window at night.
          Strengths
          • Emotional impact
          • Character development
          • Tension
          Weaknesses
          • Some dialogue could be more nuanced

          Ratings
          Overall

          Overall: 9

          The scene effectively conveys the emotional impact of the Holocaust and the moral conflict faced by Schindler. The tone and sentiment are well-executed, creating a sense of tension and sadness. The scene also moves the story forward by showing the consequences of Schindler's actions.


          Story Content

          Concept: 8

          The concept of the scene, depicting the aftermath of the Holocaust and the moral dilemma faced by Schindler, is well-executed. It effectively conveys the themes of redemption and the value of human life.

          Plot: 8

          The plot of the scene focuses on the aftermath of the Holocaust and Schindler's efforts to save as many lives as possible. It effectively conveys the emotional impact of the events and moves the story forward.

          Originality: 9

          This scene demonstrates a high level of originality. The situation of workers being taken away and the protagonist's efforts to save them is a fresh approach to the familiar theme of the Holocaust. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


          Character Development

          Characters: 9

          The characters in the scene, particularly Schindler and Goeth, are well-developed and their conflicting motivations and emotions are portrayed effectively. Their dialogue and actions reveal their complex personalities and the moral dilemmas they face.

          Character Changes: 8

          Schindler undergoes a significant character change in the scene, realizing the gravity of the situation and the importance of saving lives. This change is portrayed through his actions and dialogue.

          Internal Goal: 8

          The protagonist's internal goal in this scene is to save as many of his workers as possible and protect them from harm. This reflects his deeper need to make a difference and save lives, as well as his fear of failing to do so.

          External Goal: 7

          The protagonist's external goal in this scene is to negotiate with Goeth and convince him to allow him to take his workers to safety. This reflects the immediate challenge of protecting his workers from being sent to Auschwitz.


          Scene Elements

          Conflict Level: 8

          The scene contains conflicts between Schindler and Goeth, as well as the internal conflict faced by Schindler. These conflicts create tension and drive the narrative forward.

          Opposition: 9

          The opposition in this scene is strong, with Goeth representing the antagonist and posing a significant obstacle to the protagonist's goals. The audience is unsure of how the negotiation will go and whether the protagonist will succeed in saving his workers.

          High Stakes: 9

          The stakes are high in the scene, as the characters are dealing with life and death situations and the consequences of their actions. The survival of the prisoners and the moral integrity of the characters are at stake.

          Story Forward: 9

          The scene moves the story forward by showing the consequences of Schindler's actions and setting up future events. It adds depth to the narrative and enhances the overall plot.

          Unpredictability: 7

          This scene is unpredictable because it presents unexpected twists and turns, such as the protagonist's negotiation with Goeth and the revelation of his plan to save his workers. These elements keep the audience guessing and create suspense.

          Philosophical Conflict: 9

          There is a philosophical conflict evident in this scene between Schindler's belief in the value of human life and Goeth's indifference and cruelty. This challenges Schindler's beliefs and values and forces him to confront the evil of the Holocaust.


          Audience Engagement

          Emotional Impact: 10

          The scene has a high emotional impact, evoking feelings of sadness, tension, and hope. The devastating aftermath of the Holocaust and the moral dilemmas faced by the characters elicit strong emotional responses.

          Dialogue: 8

          The dialogue in the scene effectively conveys the emotions and conflicts of the characters. It reveals their motivations and adds depth to their interactions.

          Engagement: 9

          This scene is engaging because it presents a high-stakes situation and creates a sense of tension and urgency. The dialogue and actions of the characters keep the audience invested in the outcome.

          Pacing: 8

          The pacing and rhythm of this scene contribute to its effectiveness by creating a sense of tension and urgency. The concise and impactful writing keeps the scene moving at a brisk pace.


          Technical Aspect

          Formatting: 9

          The formatting of this scene follows the expected format for its genre, with proper use of scene headings, action lines, and dialogue. It is clear and easy to read, enhancing the overall readability of the screenplay.

          Structure: 8

          The structure of this scene follows the expected format for its genre, with clear scene headings, descriptions, and dialogue. It effectively conveys the progression of events and the emotional impact of the scene.


          Critique
          • The scene transitions are abrupt and could be smoother to ensure a more cohesive narrative flow.
          • The emotional tone of the scene could be more consistent, as it shifts from the grim reality of the mass graves to the mundane task of exhuming bodies.
          • The dialogue between Schindler and Goeth could be tightened up to make it more impactful and meaningful.
          • The scene could benefit from a clearer conflict or tension to drive the narrative forward.
          Suggestions
          • Consider adding a beat or two between the transition from the previous scene to this one to give the reader time to adjust to the new setting and situation.
          • Explore the emotional turmoil that Schindler and Goeth may be feeling in this moment, and reflect that in the dialogue and tone of the scene.
          • Consider adding a subplot or conflict to this scene, such as a confrontation between Schindler and Goeth about the treatment of the prisoners, or a race against time to exhume the bodies before they decompose further.
          • Trim down the dialogue between Schindler and Goeth to focus on the most important points, and eliminate any unnecessary or repetitive lines.



          Scene 30 -  Schindler's Secret Deal
          185. INT. STERN’S OFFICE - PLASZOW - NIGHT 185.

          Schindler leafing through the page of names, counting them,
          drinking, to the sound of the typewriter. Eventually,
          quietly to himself -

          SCHINDLER
          That’s it.

          Stern heard him and stops typing, glances over.

          SCHINDLER
          You can finish that page.

          Stern resumes where he left off, but then hesitates again.
          There’s something he doesn’t understand.

          STERN
          What did Goeth say? You just told him
          how many you needed?

          It doesn’t sound right. And Schindler doesn’t answer. He’s
          avoided telling Stern the details of the deal struck with
          Goeth, and balks telling him now. Finally awkwardly -

          SCHINDLER
          I’m buying them. I’m paying him. I give
          him money, he gives me the people.
          (pause)
          If you were still working for me I’d
          expect you to talk me out of it, it’s
          costing me a fortune.
          109.


          Stern had no idea. And has no idea now what to say.
          Schindler shrugs like it’s no big deal, but Stern knows it
          is.

          SCHINDLER
          Give him the list, he’ll sign it, he’ll
          get the people ready. I have to go back
          to Brinnlitz, to take care of things on
          that end, I’ll see you there.

          Stern is really overcome by what this man is doing. What he
          can’t figure out is why. Silence. And then -

          SCHINDLER
          Finish the page.

          Stern turns back, does as he’s told. Schindler drinks.
          Nothing but the sound of the typewriter keys. And then
          nothing at all. The page is done. The rest will die.

          186. INT. TOWN COUNCIL HALL - BRINNLITZ - NIGHT 186.

          Schindler in front of a large assembly, party pin in his
          lapel, as usual, imposing SS guards on either side of him.

          SCHINDLER
          This is my home.

          He looks out over his audience, the citizens of Brinnlitz,
          local government officials, many of them appearing bewildered
          by him or the “situation” that has arisen.

          SCHINDLER
          I was born here, my wife was born here,
          my mother is buried here, this is my
          home.

          His estranged wife is there. So are the guys he was drinking
          with.

          SCHINDLER
          Do you really think I’d bring a thousand
          Jewish criminals into my home?
          110.


          Everyone seems to breathe sighs of relief as if they’ve been
          waiting for him to say this, to dispel the disturbing rumors
          they’ve heard.

          SCHNDLER
          These are skilled munitions workers -
          they are essential to the war effort -

          The noise begins, his audience’s angry reaction. Raising
          pitch of his own voice -

          SCHINDLER
          - It is my duty to supervise them - and
          it is your duty to allow me -

          He barely gets it all out before the protests drown him out.
          The uproar reaches such a clamoring level there’s no point in
          his continuing.

          187. GOETH’S VILLA - PLASZOW - DAY 187.

          Goeth, at his writing desk, endures the bureaucratic tedium
          of signing memoranda, transport orders, requisitions. He
          comes to Schindler’s list, initials each page and signs the
          last with no more interest than the others. He hands the
          whole stack of paperwork to Marcel Goldberg, Personnel Clerk,
          Executor of Lists, Gangster.
          Genres: ["Drama","War"]

          Summary In this scene, Schindler reveals to his accountant, Stern, that he is buying the workers and it is costing him a fortune. Stern is overwhelmed by this revelation. Schindler instructs Stern to give Goeth the list of names and tells him that he has to go back to Brinnlitz. Later, Schindler addresses a large assembly in Brinnlitz, denying rumors of bringing Jewish criminals into his home. The scene ends with Goeth signing Schindler's list of workers at his villa in Plaszow.
          Strengths
          • Powerful emotional impact
          • Compelling concept
          • Strong character development
          Weaknesses
          • Limited dialogue

          Ratings
          Overall

          Overall: 9

          The scene effectively portrays the moral dilemma faced by Schindler and his willingness to sacrifice his own wealth for the lives of others. The emotional impact and high stakes make it a powerful and memorable moment in the film.


          Story Content

          Concept: 8

          The concept of a man using his wealth to save lives during the Holocaust is a compelling and thought-provoking idea. It raises questions about morality, sacrifice, and the power of individual actions.

          Plot: 8

          The plot of the scene revolves around Schindler's decision to buy the lives of Jewish prisoners and his interaction with Stern. It effectively advances the overall story by showcasing Schindler's transformation and his commitment to saving as many lives as possible.

          Originality: 9

          This scene demonstrates a high level of originality. The unique situation of Schindler secretly buying Jewish prisoners and the fresh approach to depicting the moral dilemma faced by the protagonist set it apart. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


          Character Development

          Characters: 9

          The characters in the scene, particularly Schindler and Stern, are well-developed and their motivations and actions are clear. Schindler's selflessness and Stern's admiration and gratitude create a strong emotional connection with the audience.

          Character Changes: 9

          Schindler undergoes a significant character change in this scene, transitioning from a businessman focused on profit to a compassionate savior. His decision to buy the lives of the prisoners showcases his transformation and growth.

          Internal Goal: 8

          The protagonist's internal goal in this scene is to maintain his facade and hide the true extent of his plan to save Jewish prisoners. It reflects his deeper need to protect the lives of innocent people and his fear of being discovered by Goeth or other Nazis.

          External Goal: 7

          The protagonist's external goal in this scene is to secure the release of the Jewish prisoners by convincing Goeth to sign the list. It reflects the immediate challenge of navigating the dangerous power dynamics within the concentration camp.


          Scene Elements

          Conflict Level: 8

          The conflict in the scene arises from Schindler's decision to buy the lives of Jewish prisoners and the opposition he faces from others. The protests and uproar from the audience create a sense of tension and opposition.

          Opposition: 9

          The opposition in this scene is strong, as Schindler faces the challenge of convincing Goeth to sign the list and secure the release of the Jewish prisoners. The audience is unsure of how Goeth will react, adding suspense and tension to the scene.

          High Stakes: 10

          The stakes in the scene are incredibly high, as Schindler risks his own wealth and potentially his life to save the lives of Jewish prisoners. The consequences of his actions are life and death.

          Story Forward: 8

          The scene moves the story forward by highlighting Schindler's commitment to saving lives and setting up the events that will follow in the film. It establishes the stakes and the moral dilemma faced by the characters.

          Unpredictability: 7

          This scene is unpredictable because it introduces a new layer of complexity to the protagonist's plan and leaves the audience uncertain about the outcome. The hesitation and secrecy surrounding Schindler's deal with Goeth add suspense and unpredictability to the scene.

          Philosophical Conflict: 9

          The philosophical conflict evident in this scene is the clash between Schindler's belief in the value of human life and the Nazi ideology of dehumanization and extermination. It challenges Schindler's values and worldview by forcing him to make difficult choices and confront the atrocities committed by the Nazis.


          Audience Engagement

          Emotional Impact: 10

          The scene evokes strong emotions from the audience, particularly through Schindler's selfless act and the reactions of the characters. It elicits sadness, hope, and admiration for Schindler's sacrifice.

          Dialogue: 8

          The dialogue in the scene effectively conveys the tension and emotion of the situation. Schindler's revelation about buying the prisoners and his interaction with Stern reveal important character traits and motivations.

          Engagement: 9

          This scene is engaging because it presents a pivotal moment in the protagonist's journey and raises suspense about the outcome of his plan. The dialogue and interactions between the characters create tension and emotional investment for the audience.

          Pacing: 8

          The pacing of the scene contributes to its effectiveness by gradually building tension through the characters' dialogue and actions. The pauses and moments of silence add weight to the emotional impact of the scene.


          Technical Aspect

          Formatting: 9

          The formatting of this scene follows the expected format for its genre. It uses proper scene headings, action lines, and dialogue formatting to clearly convey the visual and auditory elements of the scene.

          Structure: 8

          The structure of this scene follows the expected format for its genre. It establishes the setting, introduces the conflict, and builds tension through dialogue and character interactions.


          Critique
          • The scene transitions are abrupt and could be smoother to ensure a more coherent narrative flow.
          • The emotional impact of Schindler's decision to buy the workers could be more powerful if there is more context and history between Schindler and Stern.
          • The Brinnlitz town council scene could benefit from more context to help readers understand the significance of Schindler's words and the reactions of the people in the room.
          • The Goeth's villa scene is disconnected from the previous scene and could be more impactful if there is a clear connection between Schindler's list and the scene that follows.
          Suggestions
          • Consider adding more backstory between Schindler and Stern to make the emotional impact of Schindler's decision to buy the workers more powerful.
          • Add context to the Brinnlitz town council scene to help readers understand the significance of Schindler's words and the reactions of the people in the room.
          • Create a clear connection between Schindler's list and the scene at Goeth's villa to make the narrative flow more coherent.
          • Smooth out the scene transitions to ensure a more coherent narrative flow.



          Scene 31 -  Chaos and Conflict at Plaszow
          188. INT. OFFICE, ADMINISTRATION BUILDING - PLASZOW - DAY 188.

          Goldberg has the signature page of the list in a typewriter.
          He carefully aligns it and types his own name in a space
          allowed by the bottom margin.

          189. EXT. SCHINDLER’S BRINNLITZ FACTORY SITE - DAY 189.

          At a folding table in the middle of the field, Schindler
          signs his name to Reich Main Office directives, Evacuation
          Board and Department of Economy form, Armaments contracts.
          111.


          Around him, the new camp is taking shape: Electric fences are
          going up, watchtowers, barracks; shipments of heavy
          equipment, huge Hilo machines, are being off-loaded from
          flatbed train cars; SS engineers stand around frowning at the
          lay of the land, some drainage problem no doubt.

          190. EXT. DEPOT - PLASZOW - DAY 190.

          A train full of people destined for Auschwitz pulls away from
          the platform. As Goldberg gathers his paperwork, a prisoner
          approaches him.

          PRISONER
          Am I on the list?

          GOLDBERG
          What list is that?

          He knows what the prisoner means and the prisoner knows he
          knows. He means Schindler’s List.

          GOLDBERG
          The good list? Well, that depends,
          doesn’t it?

          The prisoner knows that, too, and discreetly turns over to
          Goldberg a couple of diamonds from the lining of his coat.

          191. INT. GOLDBERG’S OFFICE - PLASZOW - NIGHT 191.

          Names on a notepad, the first few crossed out. Goldberg
          types the next name onto a page of The List, squeezing it
          into the upper margin, and crosses that one out on the pad.

          He rolls the page down, types another name, tires of the
          exacting task, tears the handwritten page of names from the
          notepad, crumples it and throws it away.

          192. EXT. BRINNLITZ - NIGHT 192.

          Schindler, on his way back to his hotel after a night of
          drinking, is jumped by three guys, wrestled to the ground and
          brutally kicked.
          112.


          As the forms of his attackers move away, he catches a glimpse
          of one of them -his “friend” who admired his car when he
          first arrived back in town.

          193. INT. MECHANICS GARAGE - PLASZOW - DAY 193.

          Pfefferberg, his head under the hood of a German staff car,
          adjusting the carburetor. Goldberg comes in.

          GOLDBERG
          Hey, Poldek, how’s it going?
          (Pfefferberg ignores him)
          You know about the list? You’re on it.

          PFEFFERBERG
          Of course I’m on it.

          GOLDBERG
          You want to stay on it? What do you got
          for me?

          Pfefferberg glances up from his work and studies the
          blackmailing collaborator for a long moment.

          PFEFFERBERG
          What do I got for you?

          GOLDBERG
          Takes diamonds to stay on this list.

          Pfefferberg suddenly attacks him with the wrench in his hand,
          beating him across the shoulders and head with it.

          PFEFFERBERG
          I’ll kill you, that’s what I got for you.

          Goldberg goes down, tries to scramble away on his knees, the
          blows coming down hard on his back.

          GOLDBERG
          All right, all right, all right.

          He makes it outside the garage and runs.
          113.


          194. EXT. DEPOT - PLASZOW - DAY 194.

          A cattle car is coupled to another, the pin dropped into
          place. On the platform, clerks at folding tables shuffle
          paper while others mill around with clipboards, calling out
          names.

          Thousands of prisoners on the platform, some climbing onto
          strings of slatted cars on opposing tracks. Some already in
          them, most standing in lines, changing lines, the end of one
          virtually indistinguishable from the beginning of another.

          Paperwork. Lists of names. Pens in hands checking them off.
          Some bound for Brinnlitz, the rest for Auschwitz, if they can
          be properly sorted from one another.

          A boy is allowed to remain in a line with his father; his
          mother is taken to another line composed of women and girls.
          This segregation is the only recognizable process going on;
          the others, if they exist, are apparent only to the clerks
          and guards, and maybe not even to them. It is chaos.

          195. EXT. COUNTRYSIDE - NIGHT 195.

          A train snakes across the dark landscape.

          196. INT. CATTLE CAR - MOVING - NIGHT 196.

          Stern, wedged into a corner of an impossibly crowded car.
          This train may be headed for Schindler’s hometown, but it is
          no more comfortable than the others on their way to Auschwitz-
          Birkenau.

          197. EXT. CROSSING - POLAND - DAY 196. 197.

          The train idles at a crossing in the middle of nowhere.
          Moving across the faces peering out from between the slats,
          it becomes apparent there are only male prisoners aboard.

          Below, on a dirt road, a lone Polish boy stands watching.
          Just before an empty train roars past from the other
          direction obscuring him, his hand comes up and across his
          neck making the gesture of a throat being slit.
          114.


          197. EXT. DEPOT - BRINNLITZ - DAY 197.

          The train pulls into the small quiet Brinnlitz station. The
          doors are opened and the prisoners begin climbing down. At
          the far end of the platform, flanked by several SS guards,
          stands Schindler. To his customary elegant attire he has
          added a careless accouterment, a Tyrolean hat.

          198. EXT. BRINNLITZ - DAY 198.

          Leading a procession of nine hundred male Jewish “criminals”
          through the center of town, Schindler ignores the angry
          taunts and denouncements and the occasional rock hurled by
          the good citizens of Brinnlitz lining the streets.

          199. INT. BRINNLITZ MUNITIONS FACTORY - DAY 199.

          Under the towering Hilo machines, a meal of soup and bread
          awaits the workers. As they’re sitting down to it, Schindler
          addresses them -

          SCHINDLER
          You’ll be interested to know I received a
          cable this morning from the Personnel
          Office, Plaszow. The women have left.
          They should be arriving here sometime
          tomorrow.

          He sees Stern among the workers, smiles almost imperceptibly,
          turns and walks away.

          200. EXT. RURAL POLAND - DAY 200.

          A train backs slowly along the tracks toward an arched
          gatehouse. The women inside the cattle cars don’t need a
          sign to tell them where they are, they’ve seen this place in
          nightmares. Pillars of dark smoke rise from the stacks into
          the sky.

          It’s Auschwitz.
          115.


          201. EXT. AUSCHWITZ - DAY 201.

          The stunned women climb down from the railcars onto an
          immense concourse bisecting the already infamous camp. As
          they’re marched across the muddy yard by guards carrying
          truncheons, Mila Pfefferberg stares at the place. It’ so
          big, like a city, only one in which the inhabitants reside
          strictly temporarily. To Mila, under her breath -

          WOMAN
          Where are the clerks?

          So often terrified by the sight of a clerk with a clipboard,
          it is the absence of clerks which unsettles the woman now, as
          though there remains no further reason to record their names.
          Mila’s eyes return to the constant smoke rising beyond the
          birch trees at the settlement’s western end.
          Genres: ["Drama","Historical"]

          Summary In this tense and chaotic scene, Goldberg adds names to Schindler's List while taking bribes from prisoners. Schindler signs papers at the Brinnlitz factory site. A train full of prisoners departs for Auschwitz. Schindler is attacked by his friend and Pfefferberg attacks Goldberg when asked for diamonds. Clerks sort prisoners into different lines at the Plaszow depot, with women being sent to Auschwitz and men to Brinnlitz. The conflicts remain unresolved as Schindler's friend escapes, Goldberg evades Pfefferberg, and the scene ends with the separation of the prisoners.
          Strengths
          • Powerful emotional impact
          • Compelling plot
          • Well-developed characters
          Weaknesses
          • None

          Ratings
          Overall

          Overall: 9

          The scene effectively portrays the harsh reality of the Holocaust and the immense challenges faced by the characters. The tension and emotional impact are high, and the scene moves the story forward significantly.


          Story Content

          Concept: 8

          The concept of Schindler's list and the desperate attempts of the prisoners to stay on it are compelling and drive the plot forward. The establishment of the new factory in Brinnlitz adds a new dimension to the story.

          Plot: 9

          The plot is well-developed and engaging. The scene showcases the challenges faced by Schindler and the prisoners, as well as the growing desperation and corruption within the camp.

          Originality: 9

          The level of originality in this scene is high. The unique situation of the Holocaust and the moral complexities it presents are explored in a fresh and impactful way. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


          Character Development

          Characters: 9

          The characters are well-defined and their actions and motivations are clear. Schindler's determination to save as many lives as possible is evident, as is the desperation of the prisoners to stay on his list.

          Character Changes: 8

          Schindler's character undergoes a subtle change as he becomes more determined to save as many lives as possible. The prisoners also experience changes as they resort to desperate measures to stay on the list.

          Internal Goal: 8

          The protagonist's internal goal in this scene is to maintain his position on Schindler's List, which represents his chance of survival. This reflects his deeper need for safety and security in the midst of the Holocaust.

          External Goal: 7

          The protagonist's external goal in this scene is to gather information and diamonds from prisoners in order to maintain their place on Schindler's List. This reflects the immediate challenge of ensuring their survival in the face of impending danger.


          Scene Elements

          Conflict Level: 9

          The conflict in the scene is intense, both externally between the prisoners and the guards, and internally within the characters themselves. The stakes are high, as the prisoners' lives are at risk.

          Opposition: 9

          The opposition in this scene is strong, with the protagonist facing physical attacks, moral dilemmas, and the constant threat of danger. The audience is unsure of how the protagonist will overcome these obstacles, adding to the tension and suspense.

          High Stakes: 10

          The stakes are incredibly high in the scene, as the prisoners' lives are at risk and Schindler's actions have the potential to save or condemn them.

          Story Forward: 10

          The scene significantly moves the story forward by establishing the new factory in Brinnlitz and the transfer of workers. It also highlights the increasing danger and desperation faced by the characters.

          Unpredictability: 8

          This scene is unpredictable because it presents unexpected twists and turns, such as the prisoner discreetly giving diamonds to Goldberg and Pfefferberg attacking Goldberg. These unexpected events add to the tension and keep the audience guessing.

          Philosophical Conflict: 9

          There is a philosophical conflict evident in this scene between the protagonist's moral dilemma of accepting diamonds in exchange for saving lives and the prisoners' desperation to do whatever it takes to survive. This challenges the protagonist's beliefs and values, as he must navigate the ethical complexities of his actions.


          Audience Engagement

          Emotional Impact: 10

          The scene evokes strong emotions of sadness, despair, and hopelessness. The brutality and desperation of the characters are deeply affecting.

          Dialogue: 8

          The dialogue effectively conveys the emotions and motivations of the characters. The interactions between Schindler, Goldberg, and Pfefferberg are particularly impactful.

          Engagement: 9

          This scene is engaging because it presents a high-stakes situation, with the protagonist navigating moral dilemmas and facing physical danger. The tension and suspense created by the actions and dialogue of the characters keep the audience invested in the scene.

          Pacing: 8

          The pacing of the scene contributes to its effectiveness by balancing moments of tension and action with quieter moments of reflection and dialogue. This creates a rhythm that keeps the audience engaged and invested in the scene.


          Technical Aspect

          Formatting: 9

          The formatting of this scene follows the expected format for its genre. The scene headings, action lines, and dialogue are properly formatted and organized, making it easy to read and understand.

          Structure: 8

          The structure of this scene follows the expected format for its genre. It transitions smoothly between different locations and events, effectively conveying the passage of time and the progression of the narrative.


          Critique
          • The scene transitions are abrupt and could benefit from more clear connections between the different locations and actions.
          • The emotional tone of the scene is somewhat inconsistent, shifting between the mundane tasks of paperwork and the violence and trauma of the attack on Schindler.
          • The motivations and actions of some characters, such as the three guys who attack Schindler, are not well established or explained.
          • The significance of certain actions, like the Polish boy's hand gesture, are not clear without additional context.
          Suggestions
          • Consider adding more explicit transitions between the different locations and actions to help guide the reader.
          • Ensure that the emotional tone remains consistent throughout the scene or is intentionally shifted for effect.
          • Establish the motivations and actions of characters more clearly, especially when they play a significant role in the scene.
          • Clarify the significance of any ambiguous actions or gestures to avoid confusion for the reader.



          Scene 32 -  Schindler Confronted by Gestapo and Doctor's Deception
          202. INT. OFFICES - BRINNLITZ FACTORY - DAY 202.

          Schindler comes out of his office and, passing Stern’s desk,
          mumbles -

          SCHINDLER
          They’re in Auschwitz.

          Before Stern can react, Schindler is out the door.

          203. EXT. BRINNLITZ FACTORY - MOMENTS LATER - DAY 203.

          As he strides across the factory courtyard toward his
          motorcycle, Schindler is intercepted by some Gestapo men who
          have just emerged from their car.

          GESTAPO
          Your friend Amon Goeth has been arrested.

          SCHINDLER
          (pause)
          I’m sorry to hear that.
          116.


          GESTAPO
          There are some things that are unclear.
          We need to talk.

          SCHINDLER
          I’d love to, it’ll have to wait until I
          get back. I have to leave.

          The looks on their faces tell him he’s not going anywhere.

          SCHINDLER
          All right, okay, let’s talk.

          GESTAPO
          In Breslau.

          SCHINDLER
          Breslau? I can’t go to Breslau. Not
          now.

          These guys are serious.

          204. EXT. AUSCHWITZ - DAY 204.

          A young silver-haired doctor moves slowly along rows of
          Schindler’s women, considering each with a pleasant smile
          even as he makes his selections, with tiny gestures, for the
          death chambers. He pauses in front of one.

          YOUNG DOCTOR
          How old are you, Mother?

          She could lie, and he’d have killed her for it. She could
          tell the truth, and he’d have her killed for that, too.

          WOMAN
          (pause)
          Sir, a mistake’s been made. We’re not
          supposed to be here, we work for Oskar
          Schindler. We’re Schindler Jews.

          The doctor nods pensively, understandingly, it seems. Then -
          117.


          YOUNG DOCTOR
          And who on earth is Oskar Schindler?

          He glances around hopelessly. One of the SS guards who
          accompanied the women from Plaszow speaks up -

          PLASZOW GUARD
          He had a factory in Cracow. Enamelware.

          The doctor nods again as if the information were valuable, as
          if it meant something to him. It doesn’t.

          YOUNG DOCTOR
          A potmaker?

          He smiles to himself and gets on with the “examination,” this
          woman to this line, this other one to that.
          Genres: ["Drama","Historical"]

          Summary Schindler comes out of his office and informs Stern that they are in Auschwitz. Gestapo men intercept Schindler and inform him about Goeth's arrest. Schindler reluctantly agrees to talk to them. Meanwhile, a young doctor selects women for the death chambers, but feigns ignorance when one woman mentions they are Schindler Jews. The scene ends with the doctor continuing to select women for the death chambers.
          Strengths
          • Powerful portrayal of moral dilemma
          • Effective use of tension and conflict
          • Emotionally impactful
          Weaknesses
          • Some dialogue could be more nuanced

          Ratings
          Overall

          Overall: 9

          The scene effectively conveys the tension and hopelessness of the situation, while also highlighting the internal conflict of the protagonist. The dialogue is impactful and the emotional impact is high.


          Story Content

          Concept: 8

          The concept of a man risking his own life and fortune to save Jewish workers during the Holocaust is powerful and thought-provoking. The scene effectively explores the moral complexities of the situation.

          Plot: 9

          The plot of the scene revolves around Schindler's realization that his workers have been sent to Auschwitz and his subsequent interaction with the Gestapo. It is a crucial turning point in the story.

          Originality: 9

          This scene demonstrates a high level of originality through its portrayal of the Holocaust from the perspective of a German factory owner who saves Jewish lives. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


          Character Development

          Characters: 9

          The characters in the scene, particularly Schindler, are well-developed and their motivations and emotions are effectively portrayed. The scene showcases Schindler's internal struggle and his determination to save lives.

          Character Changes: 8

          Schindler undergoes a significant character change in the scene as he realizes the gravity of the situation and becomes even more determined to save lives. His actions and decisions reflect this change.

          Internal Goal: 8

          The protagonist's internal goal in this scene is to protect the Jewish prisoners and maintain his facade as a factory owner. This reflects his deeper desire to save as many lives as possible and his fear of being discovered by the Gestapo.

          External Goal: 7

          The protagonist's external goal in this scene is to navigate the situation with the Gestapo men and avoid being arrested himself. This reflects the immediate circumstances and challenges he is facing.


          Scene Elements

          Conflict Level: 9

          The scene is filled with conflict, both internal and external. Schindler's conflict with the Gestapo and his internal struggle to save lives create a high level of tension.

          Opposition: 8

          The opposition in this scene is strong as the protagonist faces the threat of arrest and the indifference of the Gestapo men and the doctor. The audience is unsure of how the protagonist will overcome these obstacles.

          High Stakes: 10

          The stakes are incredibly high in the scene, as Schindler's workers have been sent to Auschwitz and his own life is in danger. The consequences of his actions are life and death.

          Story Forward: 9

          The scene moves the story forward by highlighting the escalating danger and the increasing stakes for Schindler and his workers. It sets up the next phase of the narrative.

          Unpredictability: 7

          This scene is unpredictable because it introduces unexpected obstacles and challenges for the protagonist, keeping the audience unsure of how the situation will unfold.

          Philosophical Conflict: 9

          There is a philosophical conflict evident in this scene between the values of human life and the dehumanization of the Jewish prisoners. The protagonist's beliefs and values are challenged by the doctor's indifference towards the prisoners' lives.


          Audience Engagement

          Emotional Impact: 10

          The scene evokes strong emotions of sadness, desperation, and empathy for the characters. The portrayal of the Holocaust and the moral dilemma faced by Schindler is deeply affecting.

          Dialogue: 8

          The dialogue in the scene is impactful and reveals the conflicting ideologies and emotions of the characters. It effectively conveys the tension and desperation of the situation.

          Engagement: 9

          This scene is engaging because it presents a high-stakes situation and creates suspense through the characters' actions and dialogue.

          Pacing: 9

          The pacing of the scene contributes to its effectiveness by maintaining a sense of urgency and tension, keeping the audience engaged.


          Technical Aspect

          Formatting: 9

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

          Structure: 8

          The structure of this scene follows the expected format for its genre by clearly establishing the setting, introducing the conflict, and advancing the plot.


          Critique
          • The scene transition from Schindler's office to Auschwitz is abrupt and could benefit from a more seamless transition, perhaps by showing Schindler receiving news about the transport or the situation at Auschwitz.
          • The Gestapo scene feels a bit forced and could benefit from more context to explain why they need to speak with Schindler immediately. It might also help to build tension if Schindler tries to resist going to Breslau.
          • The doctor's character could be more fleshed out to make his actions more impactful. For example, showing him conflicted or hesitant before making his selections would make the scene more emotionally charged.
          • The dialogue between the woman and the doctor could be more impactful if the woman's fear and desperation were more evident, and if the doctor's response were more ambiguous or menacing.
          Suggestions
          • Consider adding a transition from the previous scene that foreshadows the transport or shows Schindler receiving news about it.
          • Add more context to the Gestapo scene to explain why they need to speak with Schindler immediately and build tension by showing his resistance.
          • Develop the doctor's character more to make his actions more impactful and add ambiguity to his response.
          • Make the woman's fear and desperation more evident in her dialogue and actions, and add ambiguity to the doctor's response to heighten the tension.



          Scene 33 -  Saving Lives and Desperate Negotiations
          205. INT. CELL - SS PRISON, BRESLAU - DAY 205.

          In a dank cell, in uniform, Amon Goeth waits. Schindler is
          on his way, hopefully. Maybe he’s already here. Schindler
          will vouch for him. Schindler will straighten this out.

          206. INT. SS PRISON, BRESLAU - DAY 206.

          In a large room, Schindler sits before a panel of twelve
          sober Bureau V investigators and a judge of the SS court.

          INVESTIGATOR
          Everything you say will be held in
          confidence. You are not under
          investigation. You are not under
          investigation. Mr. Goeth is. He is being
          held on charges of embezzlement and
          racketeering. You’re here at his request
          to corroborate his denials. Our
          information onto his financial
          speculations comes from many sources. On
          his behalf there is only you. We know you
          are close friends. We know this is hard
          for you. But we must ask you -
          118.


          SCHINDLER
          He stole our country blind.

          207. INT. BRINNLITZ FACTORY - DAY 207.

          In Schindler’s absence, the workers attempt to operate the
          unfamiliar machines, to figure out the unfamiliar process of
          manufacturing artillery shells. There’s movement, there’s
          noise, the machines are running, but little is being
          produced.

          Untersturmfuhrer Jose Liepold, the Commandant of Schindler’s
          new subcamp, moves through the factory conducting an
          impromptu inspection. He points out to a guard a kid no more
          nine, sorting casings at a work table, and another boy, ten
          or eleven, carrying a box.

          208. EXT. BARRACKS - AUSCHWITZ - NIGHT 208.

          Mila and another woman cross back toward their barracks
          carrying a large heavy pot of broth. Not more than a hundred
          meters away stand the birch trees and crematoria, the smoke
          pluming even now, at NIGHT

          Out of the darkness appear “apparitions,” skeletal figures
          which surround the two women, or rather the soup pot between
          them, dipping little metal cups into it, over and over.

          Too startled to speak, Mila can only stare. The apparitions
          clamor around the pot a moment more, than furtively slip back
          into the same darkness from which they came. Mila and the
          other woman exchange a glance. The pot is empty.

          MILA
          Where’s Schindler now?

          209. INT. HOSS’ HOUSE - AUSCHWITZ - NIGHT 209.

          In his en, over cognac, Auschwitz Commandant Rudolf Hoss
          considers the documents Schindler has brought: the list, the
          travel papers, the Evacuation Board authorization. Hoss nods
          at them, then at Schindler.
          119.


          HOSS
          You’re right, a clerical error has bee
          made.
          (pause)
          Let me offer you this in apology for the
          inconvenience. I have a shipment coming
          in tomorrow, I’ll cut you three hundred
          from it. New ones. These are fresh.

          Schindler seems to think about the offer as he nurses his
          drink. It’s “tempting.”

          HOSS
          The train comes, we turn it around, it’s
          yours.

          SCHINDLER
          I appreciate it. I want these.

          The ones on the list in Hoss’ hand. Silence. Then:

          HOSS
          You shouldn’t get stuck on names.

          Why, because you get to know them? Because you begin to see
          them as human beings? Schindler suddenly has the awful
          feeling that the women are already dead. Hoss misinterprets
          the look.

          HOSS
          That’s right, it creates a lot of
          paperwork.

          210. EXT. CONCOURSE - AUSCHWITZ - DAY 210.

          A large assembly of women. Guards calling out names from a
          list. As each woman steps out of line, a guard
          unceremoniously brushes a swathe of red paint across her
          clothes. New columns are formed.
          120.


          211. EXT. TRAIN YARD - AUSCHWITZ - DAY 211.

          Schindler, standing at the end of the platform stone-faced,
          watches the women whose names he is “stuck on,” whose clothes
          are slashed with red paint, climbing onto the cattle cars.

          As the cars fill, a train on another track arrives. The
          “fresh” ones Schindler turned down. As the gates are closed
          on the women’s cars, the gates of the others are opened and
          the people spill out.

          A horrified cry suddenly breaks through the noise of the
          engines. One of Schindler’s women, locked in, has seen her
          son among those coming down off the train on the opposing
          track.

          Another cry erupts, and another, another, as the women spot
          their children, confiscated from the Brinnlitz factory,
          brought here.

          Schindler becomes aware of what’s happening and, passing over
          other children, tries to corral these particular boys, many
          of whom have noticed their mothers now and are echoing their
          tortured cries with their own.

          Schindler manages to gather them together, the fifteen or
          twenty boys, and, in the middle of the crowded platform,
          appears to a guard:

          SCHINDLER
          These are mine. They’re on the list.
          These are my workers. They should be on
          the train.

          He points across to the women’s train, then down to the boys.

          SCHINDLER
          They’re skilled munition workers. They’re
          essential.

          The guard glances from the frantic gentleman to the anxious
          brook around him. These are essential workers?
          121.


          GUARD
          They’re boys.

          SCHINDLER
          Yes.

          Schindler is nodding his head, trying to think. The women
          are shrieking their sons’ names. The guard, who heard it
          all, every excuse imaginable, is just turning away when
          Schindler thrusts his smallest finger at him.

          SCHINDLER
          Their fingers. They polish the insides
          of shell casings. How else do you expect
          me to polish the inside of a 45
          millimeter shell casing?

          The guard stares at him dumbly. This he hasn’t heard.
          Genres: ["Drama","Historical"]

          Summary In this scene, Amon Goeth waits in a dank cell while Schindler testifies before investigators. The workers in Schindler's factory struggle to operate the machines, and Mila witnesses skeletal figures taking their soup. Schindler negotiates with Auschwitz Commandant Rudolf Hoss to save the women on his list, who are marked with red paint and loaded onto cattle cars. Schindler discovers that their children have been brought to the train yard and tries to save them, explaining the importance of their skills to a guard.
          Strengths
          • Emotional impact
          • Character development
          • Tension and conflict
          Weaknesses
          • None

          Ratings
          Overall

          Overall: 9

          The scene is highly impactful and emotionally charged, effectively conveying the gravity of the situation and the internal struggle of the protagonist.


          Story Content

          Concept: 8

          The concept of the scene revolves around Schindler's efforts to protect his workers and the moral choices he has to make. It is executed with great depth and complexity.

          Plot: 9

          The plot of the scene is crucial in advancing the story as it showcases Schindler's determination to save his workers and the obstacles he faces. It adds significant tension and conflict.

          Originality: 9

          The level of originality in this scene is high. The unique situation of Schindler trying to save lives in the midst of the Holocaust, the fresh approach to depicting the oppressive Nazi regime, and the authenticity of the characters' actions and dialogue contribute to the originality of the scene.


          Character Development

          Characters: 9

          The characters in the scene, particularly Schindler, are well-developed and their emotions and motivations are effectively portrayed. Their interactions and decisions drive the narrative forward.

          Character Changes: 8

          Schindler undergoes a significant character change in the scene as he confronts the harsh reality of the Holocaust and becomes more determined to save his workers.

          Internal Goal: 8

          The protagonist's internal goal in this scene is to save as many lives as possible and to protect the workers in his factory. This reflects his deeper desire to make a difference and to atone for his previous actions.

          External Goal: 9

          The protagonist's external goal in this scene is to convince the investigators and the judge to vouch for Amon Goeth and to clear his name of the charges against him. This reflects the immediate challenge of trying to save Goeth from punishment.


          Scene Elements

          Conflict Level: 9

          The scene is filled with conflict, both internal and external. Schindler's internal struggle and the external threat of the Holocaust create a high level of tension and drama.

          Opposition: 9

          The opposition in this scene is strong, as Schindler faces obstacles and challenges in his efforts to save lives and protect his workers. The audience is unsure of how he will overcome these obstacles.

          High Stakes: 10

          The stakes in the scene are incredibly high as Schindler tries to save his workers from Auschwitz. The lives of many people are at risk, adding tension and urgency to the scene.

          Story Forward: 9

          The scene moves the story forward by showcasing Schindler's efforts to protect his workers and the challenges he faces. It adds depth to the narrative and sets up future events.

          Unpredictability: 9

          This scene is unpredictable because it presents unexpected twists and turns, such as the appearance of the skeletal figures and the revelation of the children being brought to the concentration camp. These elements keep the audience on the edge of their seats.

          Philosophical Conflict: 9

          There is a philosophical conflict evident in this scene between Schindler's belief in the value of human life and the Nazi ideology of dehumanization and extermination. This challenges Schindler's beliefs, values, and worldview as he tries to navigate the oppressive system and save as many lives as possible.


          Audience Engagement

          Emotional Impact: 10

          The scene evokes strong emotions in the audience, particularly sadness and hope. The plight of the characters and the gravity of the situation create a deeply emotional impact.

          Dialogue: 8

          The dialogue in the scene is impactful and reveals the inner thoughts and conflicts of the characters. It effectively conveys the gravity of the situation and adds depth to the scene.

          Engagement: 10

          This scene is engaging because it presents high stakes, emotional conflict, and dramatic tension. The audience is invested in the outcome and the fate of the characters.

          Pacing: 9

          The pacing of the scene contributes to its effectiveness by creating a sense of urgency and tension. The rhythm of the dialogue and the quick cuts between different locations enhance the pacing.


          Technical Aspect

          Formatting: 9

          The formatting of this scene follows the expected format for its genre. It includes proper indentation, dialogue tags, and transitions between scenes.

          Structure: 8

          The structure of this scene follows the expected format for its genre. It includes clear scene headings, concise action lines, and dialogue formatted correctly.


          Critique
          • The scene transitions are abrupt and could benefit from more clear connections between the different locations and actions.
          • The character of Amon Goeth is introduced but not developed further in this scene, leaving his presence feeling unnecessary and disconnected from the main action.
          • The conflict between Schindler and the Bureau V investigators is not fully realized, as Schindler quickly agrees to their requests without much resistance or tension.
          • The workers' struggle to operate the unfamiliar machines is described but not shown, making it difficult for the reader to fully visualize and connect with their experience.
          • The emotional impact of the women being sent to Auschwitz could be stronger if their perspective and reactions were more central to the scene.
          • The dialogue between Schindler and Hoss lacks clear subtext and motivation, making their interaction feel stilted and unengaging.
          • The sudden appearance of 'apparitions' around Mila and the other woman is confusing and not well integrated into the scene.
          • The scene with Hoss and Schindler contains important information but feels disconnected from the rest of the narrative and lacks emotional resonance.
          Suggestions
          • Develop the character of Amon Goeth more fully, showing his reactions and emotions in response to his arrest and Schindler's visit.
          • Create more tension and conflict between Schindler and the Bureau V investigators, showing his internal struggle and resistance to their requests.
          • Show the workers' struggle to operate the unfamiliar machines through specific actions and dialogue, making their experience more tangible and engaging for the reader.
          • Make the women's perspective and reactions more central to the scene, showing their fear and desperation as they are sent to Auschwitz.
          • Add subtext and motivation to the dialogue between Schindler and Hoss, making their interaction feel more natural and engaging.
          • Integrate the 'apparitions' more smoothly into the scene, showing their impact on Mila and the other woman and creating a stronger emotional response.
          • Connect the different locations and actions more clearly, using transitions and motifs to create a more cohesive narrative.



          Scene 34 -  Schindler Asserts Authority and Shows Compassion
          213. EXT. BRINNLITZ CAMP - DAY 213.

          Like a mirage in the distance they appear - the women, the
          children, guards, Schindler, marching across a field toward
          the factory.

          At the perimeter of the camp, at the wire, the men watch the
          approaching procession. It appears to them that the women
          are covered in blood - or - could it be paint? They’re
          walking, they’re fine, some are even smiling.

          Liepold isn’t smiling. Neither is Schindler; at least not on
          the outside.

          214. INT. BRINNLITZ FACTORY - DAY 214.

          The machines are silent, the people are not. Women are in
          their husbands’ arms, sons in their fathers’. There’s food
          on the tables but it’s largely ignored, the reunion taking
          precedence.
          122.


          215. INT. SS MESS HALL - SAME TIME - DAY 215.

          Schindler stands before the assembled camp guards. They are
          seated at the long tables, their food getting cold, waiting
          for him to say whatever it is he has to say.

          SCHINDLER
          Under Department W provisions, it is
          unlawful to kill a worker without just
          cause. Under the Businesses Compensation
          Fund I am entitled to file damage claims
          for such deaths. If you shoot without
          thinking, you go to prison and I get
          paid, that’s how it works. So there will
          be no summary executions here. There
          will be no interference of any kind with
          production. In hopes of ensuring that,
          guards will no longer be allowed on the
          factory floor without my authorization.

          His eyes meet Liepold’s, hold his icy stare, then return to
          the guards, most of whom look like tired middle-aged
          reservists.

          SCHINDLER
          For your cooperation, you have my
          gratitude.

          As he steps away he gestures to some kitchen workers. They
          tear open cases of schnapps and begin setting the bottles out
          on the tables.

          216. INT. BRINNLITZ FACTORY - DAY 216.

          Schindler strolls through his factory looking over the
          shoulders of the workers, nodding his approval. The place is
          in full operation, finally; the people, having figured out
          the complicated Hilos, turning out shells by the caseload.
          Schindler pauses at one of the machines.

          SCHINDLER
          How’s it going?
          123.


          WORKER
          Good. It’s taken a while to calibrate
          the machines, but it’s going good now.

          SCHINDLER
          Good.

          Schindler nods. Then frowns. He leans down and taps at the
          crystal of one of the gauges.

          SCHINDLER
          This isn’t right, is it?

          The worker kneels down, takes a look. It looks right to him.
          Reaching over, Schindler changes the calibration of the
          machine with a cavalier adjustment to a knob - and all the
          gauge readings shift.

          SCHINDLER
          There. That looks right.

          He wanders off. The worker stares after him. He’s just
          screwed up settings that took weeks to get right.

          Schindler comes up to another worker, Levartov, the hinge-
          maker. He’s at a machine buffing shells.

          SCHINDLER
          How’s it going, Rabbi?

          LEVARTOV
          Good, sir.

          Schindler nods, watches him work, eventually glances away.

          SCHINDLER
          Sun’s going down.

          Levartov, following Schindler’s gaze, nods uncertainly.

          SCHINDLER
          It is Friday, isn’t it?
          124.


          LEVARTOV
          Is it?

          SCHINDLER
          You should be preparing for the Sabbath,
          shouldn’t you? What are you doing here?

          Levartov just stares. It’s been years since he’s been
          allowed, indeed inclined, to perform Sabbath rites.

          SCHINDLER
          I’ve got some wine in my office. Why
          don’t wego over there, I’ll give it to
          you. Come on, let’s go.

          Schindler heads off. The rabbi keeps staring. Schindler
          gestures back to him, offering casually -

          SCHINDLER
          Come on.

          Levartov looks around. Finally, he hangs up his goggles and
          follows after Schindler.
          Genres: ["Drama","Historical"]

          Summary In this scene at the Brinnlitz camp and factory, Schindler leads a procession of women, children, guards, and workers towards the factory. The men at the perimeter notice the women covered in blood or paint. Inside the factory, the machines are silent but the people are reunited. Schindler addresses the guards, explaining the consequences of killing a worker without cause and forbidding interference with production. He offers schnapps as a gesture of gratitude. Schindler walks through the factory, checking on the workers and making adjustments to the machines. He interacts with a worker who messes up the machine settings and surprises Levartov, a rabbi, by inviting him to his office to prepare for the Sabbath.
          Strengths
          • Emotional impact
          • Character development
          • Tension
          Weaknesses

            Ratings
            Overall

            Overall: 9

            The scene is emotionally impactful, moves the story forward, and highlights the high stakes involved.


            Story Content

            Concept: 8

            The concept of saving the workers and negotiating with the Auschwitz Commandant is compelling and well-executed.

            Plot: 9

            The plot is engaging and filled with tension as Schindler tries to save the workers and negotiate their release.

            Originality: 6

            The level of originality in this scene is moderate. While the setting of a concentration camp during the Holocaust is not unique, the specific actions and dialogue of the characters provide fresh approaches to familiar situations. 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 actions and dialogue contribute to the emotional impact of the scene.

            Character Changes: 8

            Schindler undergoes a significant change as he becomes more determined to save the workers and risks his own safety.

            Internal Goal: 8

            The protagonist's internal goal in this scene is to maintain control and ensure the safety of the workers in the factory. This reflects Schindler's deeper desire to protect as many Jewish people as possible and alleviate his guilt for his previous involvement in the Holocaust.

            External Goal: 9

            The protagonist's external goal in this scene is to establish new rules and regulations for the guards in order to prevent any interference with production and ensure the safety of the workers. This reflects the immediate challenge of maintaining order and productivity in the factory.


            Scene Elements

            Conflict Level: 8

            There is a high level of conflict as Schindler negotiates with the Auschwitz Commandant and tries to save the workers.

            Opposition: 8

            The opposition in this scene is strong as Schindler faces resistance from the guards and challenges their authority. The audience is unsure of how the guards will react and whether Schindler will be successful in implementing his new rules.

            High Stakes: 10

            The stakes are incredibly high as the lives of the workers and Schindler's reputation are on the line.

            Story Forward: 9

            The scene moves the story forward by showing the successful transfer of the workers to the Brinnlitz camp.

            Unpredictability: 7

            This scene is unpredictable because it introduces new rules and regulations that challenge the established power dynamics. The audience is unsure of how the guards will react and whether Schindler's plan will be successful.

            Philosophical Conflict: 7

            There is a philosophical conflict evident in this scene between Schindler's belief in the value of human life and the guards' indifference towards the workers. This challenges Schindler's beliefs and values and highlights the stark contrast between his worldview and that of the guards.


            Audience Engagement

            Emotional Impact: 10

            The scene evokes strong emotions through its portrayal of the dire situation and Schindler's efforts to save lives.

            Dialogue: 8

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

            Engagement: 9

            This scene is engaging because it presents a pivotal moment in the story where the protagonist takes control and establishes new rules. The tension between Schindler and the guards creates suspense and keeps the audience invested in the outcome.

            Pacing: 8

            The pacing of the scene contributes to its effectiveness by creating a sense of urgency and tension. The dialogue and actions are well-timed and keep the scene moving forward.


            Technical Aspect

            Formatting: 9

            The formatting of this scene follows the expected format for its genre. The scene headings, action lines, and dialogue are properly formatted and easy to follow. The scene is well-paced and allows for clear visualization of the events.

            Structure: 8

            The structure of this scene follows the expected format for its genre. It begins with an establishing shot and then moves between different locations within the camp. The scene progresses logically and effectively conveys the protagonist's goals and conflicts.


            Critique
            • The scene transitions could be smoother to help the reader better follow the flow of the story. For example, the last line of the previous scene could be used to set up the appearance of the women and children in this scene.
            • The dialogue in the scene where Schindler addresses the camp guards could be tightened up to make it more impactful. Consider cutting unnecessary words or phrases to make the message clearer and more direct.
            • The scene with Schindler and Levartov in the factory could benefit from more specific details to help the reader visualize the setting and understand the characters' emotions. For example, describing the look on Levartov's face or the sound of the machines in the background could add depth to the scene.
            • The significance of Schindler adjusting the machine settings is not immediately clear to the reader. Consider adding a line or two of dialogue or description to explain why this is important and what it means for the workers.
            Suggestions
            • Consider adding a transition between the previous scene and this one to help the reader better follow the story. For example, you could start the scene with a line of dialogue from Schindler or a description of the women and children approaching the factory.
            • Tighten up the dialogue in the scene where Schindler addresses the camp guards to make it more impactful. Consider cutting unnecessary words or phrases to make the message clearer and more direct.
            • Add more specific details to the scene with Schindler and Levartov in the factory to help the reader visualize the setting and understand the characters' emotions. For example, describe the look on Levartov's face or the sound of the machines in the background.
            • Explain the significance of Schindler adjusting the machine settings to help the reader understand why this is important and what it means for the workers. Consider adding a line of dialogue or description to clarify this point.



            Scene 35 -  Longing and Tension in the Brinnlitz Camp
            217. INT. WORKERS BARRACKS - NIGHT 217.

            Under the shadow of a watchtower, among the roof-high tiers
            of bunks strung with laundry, Levartov recites Kiddush over a
            cup of wine to workers gathered around him.

            218. INT. GUARDS BARRACKS - NIGHT 218.

            On their bunks, the guards relax with schnapps, cards and
            magazines. One of them becomes distracted by a distant
            sound. Some of the others begin to hear it.

            GUARD
            What is that?

            Conversations cease. The barracks gradually becomes quiet,
            silent, all the guards straining to hear. It sounds like …
            singing. It sounds like Yiddish singing.
            125.


            219. EXT. BRINNLITZ CAMP - SAME TIME - NIGHT 219.

            On a watchtower, a night sentry, unsure where it’s coming
            from, listens to the distant singing. It seems like it’s
            emanating from the surrounding hills, from the trees.

            220. INT. LIEPOLD’S QUARTERS - SAME TIME - NIGHT 220.

            At his small desk, Liepold is typing a letter, denouncing
            Schindler most likely. The pounding keys bury all other
            sounds but when he pauses to reread what he’s typed, he hears
            it, the singing, faint, far away. He goes to his window,
            peers out, listens for a moment more, then hears nothing.
            Only the night creatures.

            221. INT. APATMENT BUILDING - BRINNLITZ - NIGHT 221.

            The door to an apartment opens from the inside revealing
            Emilie Schindler. She cooly considers the visitor on her
            doorstep, her estranged husband, looking great as usual,
            bottle of wine in his hand, smiling as if nothing is wrong
            between them, as if nothing is wrong in the entire world.

            222. INT. EMILIE’S APARTMENT - NIGHT 222.

            The two of them at the kitchen table in a modest apartment,
            drinking, at least he is. He’s trying to ask her something,
            but he’s not sure how to put it, he wants to get it right.
            Finally the words just tumble out -

            SCHINDLER
            I want you to come work for me.

            There, he’s said it. But the bewildered look on Emilie’s
            face wonders, That’s what was hard for you to say?

            SCHINDLER
            You don’t have to live with me, I
            wouldn’t ask that.
            (pause)
            It’s a nice place. You’d like it. It
            looks awful. You get used to that.
            126.


            She’s the only woman he’s even known who could make him
            nervous just sitting across a table from him, saying nothing.

            SCHINDLER
            All right -
            (now he’ll be honest)
            We can spend time together that way. We
            can see each other, see how it goes -
            without the strain of - whatever you want
            to call it when a man, a husband and a
            wife go out to dinner, go have a drink,
            go to a party, you know. This way we’ll
            see each other at work, there we are,
            same place, we see how it goes…

            His voice trails off. A shrug adds, What do you think? She
            doesn’t answer, but she does love him. He loves her, too.
            It really is a shame they’re not right for each other and
            never will be.
            Genres: ["Drama","Historical"]

            Summary In this scene at the Brinnlitz camp, Levartov recites Kiddush to the workers while the guards in the barracks become distracted by distant Yiddish singing. Liepold hears the singing while typing a letter, and Emilie Schindler opens her apartment door to find her estranged husband, Schindler, asking her to work for him. They have a conversation at the kitchen table where Schindler expresses his desire for them to spend time together at work. The scene ends with Emilie's silence, leaving the outcome uncertain and the tension between them unresolved.
            Strengths
            • Emotional depth
            • Powerful dialogue
            • Effective reflection on the Holocaust
            Weaknesses
            • Limited external conflict

            Ratings
            Overall

            Overall: 9

            The scene effectively combines emotional moments, reflection on the past, and the reunion of two important characters. It creates a strong sense of tension and sadness, while also offering a glimmer of hope.


            Story Content

            Concept: 8

            The concept of the scene revolves around the reunion of Schindler and Emilie, as well as the reflection on the Holocaust. It effectively explores the emotional impact of the events and the characters' relationships.

            Plot: 8

            The plot of the scene focuses on the reunion of Schindler and Emilie, as well as their conversation about working together. It also includes moments of reflection on the Holocaust and the impact it has had on the characters.

            Originality: 7

            The level of originality in this scene is moderate. While the setting of a concentration camp during World War II is not unique, the specific dynamics and conflicts between the characters, as well as the emotional depth portrayed, add freshness to the familiar context. The authenticity of the characters' actions and dialogue contributes to the originality of the scene.


            Character Development

            Characters: 9

            The scene provides a deeper insight into the characters of Schindler and Emilie. It showcases their complex relationship and the emotions they feel towards each other. Their dialogue and actions reveal their personalities and motivations.

            Character Changes: 8

            The scene showcases a subtle change in Schindler and Emilie's relationship. They are able to reconnect on a deeper level and express their love for each other, despite their differences and the past.

            Internal Goal: 8

            The protagonist's internal goal in this scene is to reconnect with Emilie and convince her to come work for him. This reflects his deeper desire for companionship and a sense of normalcy amidst the chaos of the concentration camp.

            External Goal: 7

            The protagonist's external goal in this scene is to convince Emilie to come work for him. This reflects the immediate circumstances of their estranged relationship and the challenges they face in finding a way to reconnect.


            Scene Elements

            Conflict Level: 6

            The conflict in the scene is primarily internal, as the characters grapple with their emotions and the weight of the past. There is also a subtle conflict between Schindler and Emilie, as they navigate their complicated relationship.

            Opposition: 6

            The opposition in this scene is moderate. While there is a sense of conflict between the protagonist and Emilie due to their estranged relationship, it is not a high-stakes or intense opposition. The audience is unsure of how Emilie will respond to the protagonist's proposition.

            High Stakes: 7

            The stakes in the scene are high, as the characters are dealing with the aftermath of the Holocaust and the emotional toll it has taken on them. The reunion of Schindler and Emilie carries significant emotional weight.

            Story Forward: 7

            The scene moves the story forward by deepening the emotional journey of the characters and highlighting the impact of the Holocaust. It sets the stage for the final act of the film.

            Unpredictability: 7

            This scene is unpredictable because it introduces a surprising proposition from the protagonist to Emilie, challenging the audience's expectations of their relationship. The emotional complexity and the characters' conflicting desires add an element of unpredictability to the scene.

            Philosophical Conflict: 6

            There is a philosophical conflict evident in this scene between the protagonist's desire for companionship and a sense of normalcy, and the harsh reality of their situation in the concentration camp. This challenges the protagonist's beliefs and values about love and relationships in the face of extreme adversity.


            Audience Engagement

            Emotional Impact: 10

            The scene has a high emotional impact, as it deals with the aftermath of the Holocaust and the reunion of two characters who have been through immense suffering. It evokes a strong sense of sadness, hope, and reflection.

            Dialogue: 8

            The dialogue in the scene is meaningful and emotional. It effectively conveys the characters' thoughts and feelings, as well as their complex relationship. The dialogue also reflects the historical context of the Holocaust.

            Engagement: 9

            This scene is engaging because it combines emotional depth, tension, and a sense of longing. The interactions between the characters, their internal struggles, and the stakes involved create a compelling narrative that keeps the audience invested.

            Pacing: 8

            The pacing of the scene contributes to its effectiveness by allowing moments of tension and reflection to breathe, while also maintaining a sense of forward momentum. The rhythm of the dialogue and the pauses in action enhance the emotional impact of the scene.


            Technical Aspect

            Formatting: 9

            The formatting of this scene follows the expected format for its genre. It uses clear scene headings, concise action lines, and properly formatted dialogue. The formatting enhances the readability and clarity of the scene.

            Structure: 9

            The structure of this scene follows the expected format for its genre. It effectively transitions between different locations and characters, creating a cohesive narrative flow. The scene builds tension and emotional stakes, leading to a pivotal moment between the protagonist and Emilie.


            Critique
            • The scene transitions are well done, creating a smooth shift from the workers' barracks to the guards' barracks, and then to various other locations. This helps to maintain the tension and interest of the reader.
            • The use of sensory details, such as the sound of singing, adds depth to the scene and creates a more immersive experience for the reader.
            • The dialogue is well written and natural, particularly the conversation between Schindler and Emilie. The tension between them is palpable, and the reader can feel the history between them.
            • The scene structure is clear and easy to follow, with each new location and character introduction clearly marked.
            • The use of descriptive language, such as 'under the shadow of a watchtower' and 'among the roof-high tiers of bunks strung with laundry', adds to the atmosphere and helps to set the scene.
            • The character development in this scene is strong, particularly for Schindler. His nervousness and vulnerability when speaking to Emilie add depth to his character and make him more relatable.
            Suggestions
            • Consider adding more conflict to the scene, such as tension between Schindler and the guards, or between Emilie and Schindler. This would help to heighten the stakes and keep the reader engaged.
            • Consider expanding on the significance of the singing. Is it a symbol of hope, resistance, or something else? Clarifying this would add another layer of meaning to the scene.
            • Consider adding more sensory details, such as smells or tactile sensations, to further immerse the reader in the scene.
            • Consider exploring the emotions and thoughts of the guards more deeply. This would help to create a more well-rounded and nuanced portrayal of them.
            • Consider adding more description of Emilie's reactions and emotions during her conversation with Schindler. This would help to create a clearer picture of their relationship and the power dynamic between them.



            Scene 36 -  Schindler Introduces Emilie and Stern, Radio Fixed, Hopeful News
            223. INT. OFFICES - BRINNLITZ FACTORY - DAY 223.

            Stern glances up from his work; Schindler and Emilie have
            come in and are walking toward the accountant’s desk. He
            gets up.

            SCHINDLER
            Itzhak Stern, Emilie Schindler. My wife.

            Like the doormen and waiters of Cracow, Stern too never
            imagined Schindler was married and has trouble hiding his
            astonishment now. He extends his hand to her.

            STERN
            How do you do?

            EMILIE
            How do you do?

            STERN
            Stern is my accountant and friend.
            127.


            It sounds strange to Stern hearing Schindler actually say it.
            He’s never said it before.

            SCHINDLER
            Emilie’s offered to work in the clinic.
            To … work there.

            He’s not sure what she’s going to do there, she’s not a nurse
            or a doctor.

            STERN
            (to her)
            That’s very generous of you.

            SCHINDLER
            Yes.

            Schindler nods, looks around, shrugs, offers his arm to his
            wife, perhaps to take her on a tour of the place.

            STERN
            It was a pleasure meeting you.

            EMILIE
            Pleasure meeting you.

            The Schindlers leave. Stern sits back down at his desk and
            smiles. He’s never seen Schindler so uncomfortable.

            224. INT. MACHINE SHOP - BRINNLITZ FACTORY - DAY 224.

            Schindler comes in carrying a radio. He sets it down on a
            bench where Pfefferberg’s working on the frame of a machine
            motor with a blow torch.

            SCHINDLER
            Can you fix it?

            The radio.

            PFEFFERBERG
            What’s wrong with it?
            128.


            SCHINDLER
            How should I know? It’s broken. See what
            you can do.

            He leaves. Pfefferberg plugs it into an outlet and switches
            it on. It works perfectly. A waltz.

            225. INT. BARRACKS - BRINNLITZ CAMP - NIGHT 225.

            In a male barracks, a group of workers including Pfefferberg
            huddle in a corner around the radio, straining to hear
            through heavy static a broadcast by the BBC, the Voice of
            London, a sketchy report of an Eastern offensive by Allied
            Russian forces.

            226. INT. CLINIC - BRINNLITZ CAMP - DAY 226.

            As a camp doctor attends to sufferers of dysentery, Schindler
            and Emilie sort pairs of prescription glasses from a parcel,
            shipped from Cracow. Stern comes in.

            STERN
            We need to talk.

            SCHINDLER
            Stern.

            Schindler sifts through the glasses still in the box, comes
            up with a particular pair and holds them proudly. Not quite
            sure what he’s seeing is real -

            STERN
            They arrived.

            SCHINDLER
            They arrived, can you believe it?

            Stern allows himself a smile, a rare thing for him.
            Schindler carefully slips the new glasses onto the
            accountant’s face. He looks around the clinic, Stern,
            eventually settling on Emilie, crystal clear, standing near a
            picture on the wall which, in other circumstances, he’d find
            less than reassuring: Jesus, his heart exposed and in flames.
            129.
            Genres: ["Drama","Historical"]

            Summary In this scene, Schindler introduces his wife Emilie to his accountant Itzhak Stern. Schindler reveals that Emilie has offered to work in the clinic, although her role is unclear. Later, Schindler brings a broken radio to Pfefferberg in the machine shop, who easily fixes it. Workers gather around the radio in the barracks to listen to a broadcast about an Eastern offensive by Allied Russian forces. In the clinic, Schindler and Emilie sort prescription glasses while Stern comes in to talk to Schindler. The scene ends with Schindler putting the new glasses on Stern's face and looking around the clinic, eventually focusing on Emilie.
            Strengths
            • Emotional reunion of Schindler and Emilie
            • Portrayal of hope in a dark environment
            • Compelling character interactions
            Weaknesses
            • Dialogue could have more depth and complexity

            Ratings
            Overall

            Overall: 9

            The scene effectively portrays the emotional reunion of Schindler and Emilie, introduces a sense of hope through their decision to work together, and highlights the impact they have on the workers in the factory. The dialogue and interactions between characters are compelling and the scene moves the story forward.


            Story Content

            Concept: 8

            The concept of Schindler and Emilie reuniting and deciding to work together adds depth to their characters and showcases their commitment to helping the workers. It also introduces the theme of hope in the midst of a dark and oppressive environment.

            Plot: 9

            The plot of the scene revolves around Schindler and Emilie reuniting, their decision to work together, and the impact they have on the workers in the factory. It effectively advances the overall plot of the film by highlighting Schindler's transformation and his efforts to save as many lives as possible.

            Originality: 7

            The level of originality in this scene is moderate. While the situation of introducing a spouse to a colleague is a common occurrence, the specific dynamics and emotions portrayed by the characters add a fresh perspective. The authenticity of the characters' actions and dialogue contributes to the originality of the scene.


            Character Development

            Characters: 9

            The scene focuses on the characters of Schindler and Emilie, showcasing their emotional reunion and their commitment to helping others. Their interactions with other characters, such as Stern and the workers, further develop their personalities and motivations.

            Character Changes: 8

            The scene showcases a significant change in Schindler's character as he reunites with Emilie and decides to actively participate in saving lives. It highlights his transformation from a self-centered businessman to a compassionate savior.

            Internal Goal: 8

            The protagonist's internal goal in this scene is to introduce his wife, Emilie, to his accountant, Stern. This reflects Schindler's desire to maintain a certain image and reputation in front of Stern, as well as his need for approval and validation.

            External Goal: 6

            The protagonist's external goal in this scene is not explicitly stated. However, it can be inferred that Schindler's immediate circumstances and challenges involve managing his factory and maintaining his relationships with his employees.


            Scene Elements

            Conflict Level: 6

            While there is some underlying tension and conflict in the scene, particularly in the setting of the concentration camp, the focus is more on the reunion and hope rather than intense conflict.

            Opposition: 6

            The opposition in this scene is not strong. While there is a subtle tension between Schindler and Stern, it is not a major obstacle or conflict that the audience is unsure of how it will go.

            High Stakes: 7

            The stakes in the scene are relatively high as the characters are in a concentration camp and their actions have life-or-death consequences. However, the focus is more on the emotional and moral stakes rather than immediate physical danger.

            Story Forward: 9

            The scene moves the story forward by introducing the reunion of Schindler and Emilie, their decision to work together, and the impact they have on the workers. It sets the stage for the subsequent events and further develops the overall narrative.

            Unpredictability: 5

            This scene is unpredictable because it introduces a new dynamic between the characters and reveals unexpected emotions and reactions. However, the overall outcome and direction of the scene are relatively predictable.

            Philosophical Conflict: 0

            There is no evident philosophical conflict in this scene.


            Audience Engagement

            Emotional Impact: 9

            The scene evokes strong emotions through the reunion of Schindler and Emilie, their decision to work together, and the hope they bring to the workers. It elicits a sense of empathy and inspires a feeling of optimism in the midst of a tragic situation.

            Dialogue: 8

            The dialogue in the scene is impactful and reveals the emotions and intentions of the characters. It effectively conveys the reunion between Schindler and Emilie, their decision to work together, and their impact on the workers. However, there could be more depth and complexity in the dialogue to further enhance the scene.

            Engagement: 7

            This scene is engaging because it reveals new information about the characters and their relationships. The reader or viewer is drawn into the tension and vulnerability displayed by Schindler and the reactions of Stern.

            Pacing: 8

            The pacing of the scene contributes to its effectiveness by allowing the tension and emotions to build gradually. The pauses and moments of silence between the characters create a sense of anticipation and unease.


            Technical Aspect

            Formatting: 9

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

            Structure: 8

            The structure of this scene follows the expected format for its genre. It begins with a brief description of the location, followed by dialogue and actions that progress the scene.


            Critique
            • The scene initially presents a disconnect between Schindler's introduction of his wife and Stern's reaction, which might benefit from further development to emphasize the surprise.
            • The dialogue between Schindler and Stern regarding Emilie's role in the clinic could be more specific to clarify her duties.
            • The radio repair subplot seems disconnected from the rest of the scene and could potentially be integrated more seamlessly into the narrative.
            • The scene in the barracks with the workers listening to the radio could be more impactful if it had a clearer connection to the rest of the story.
            Suggestions
            • Develop the interaction between Schindler and Stern regarding Emilie's role to heighten the surprise and significance of Schindler being married.
            • Specify Emilie's duties in the clinic to make her introduction and purpose more meaningful.
            • Integrate the radio repair subplot into the main narrative, perhaps by having Schindler ask Pfefferberg to repair it for communication purposes.
            • Strengthen the connection between the workers listening to the radio and the rest of the story, making it more relevant to the emotional arc of the scene or the overall narrative.



            Scene 37 -  Schindler's Intervention
            227. INT. CLINIC - LATER - DAY 227.

            In a quiet corner of the clinic, Schindler concentrates on
            the disquieting news Stern has brought him:

            STERN
            We’ve received a complaint from the
            Armaments Board. A very angry complaint.
            The artillery shells, the tank shells,
            rocket casings - apparently all of them -
            have failed quality-control tests.

            Schindler nods soberly. Then dismisses the problem with a
            shrug.

            SCHINDLER
            Well, that’s to be expected. They have
            to understand. These are start-up
            problems. This isn’t pots and pans, this
            is a precise business. I’ll write them a
            letter.

            STERN
            They’re withholding payment.

            SCHINDLER
            Well, sure. So would I. So would you. I
            wouldn’t worry about it. We’ll get it
            right one of these days.

            But Stern is worried about it.

            STERN
            There’s a rumor you’ve been going around
            miscalibrating the machines.
            (Schindler doesn’t deny it)
            I don’t think that’s a good idea.

            SCHINDLER
            (pause)
            No?

            Stern slowly shakes his head ‘no.’
            130.


            STERN
            They could close us down.

            Schindler eventually nods, in agreement it seems.

            SCHINDLER
            All right. Call around, find out where
            we can buy shells and buy them. We’ll
            pass them off as ours.

            Stern’s not sure he sees the logic. Whether the shells are
            manufactured here or elsewhere, they’ll still eventually
            reach their intended destination, into the hearts and heads
            of Germany’s enemies.

            STERN
            I know what you’re saying, but I don’t
            see the difference.

            SCHINDLER
            You don’t? I do. I see a difference.

            STERN
            You’ll lose money. That’s one difference.

            SCHINDLER
            Fewer shells will be made.

            That’s another difference. The main one. The only one
            Schindler cares about. Silence. Then:

            SCHINDLER
            Stern, if this factory ever produces a
            shell that can actually be fired … I’ll
            be very unhappy.

            228. INT. BRINNLITZ FACTORY - DAY 228.

            A nineteen year old boy with his hands in the air stands
            terrified before Commandant Liepold and the revolver he
            wields. Workers, trying to reduce the likelihood of getting
            hit by a stray bullet when Liepold fires on the boy - which
            seems a certainty - scramble out of the way.
            131.


            SCHINDLER (O.S.)
            Hey.

            Liepold swings the gun around at the voice, pointing it for a
            moment at Schindler, who is striding toward him, then aims
            the barrel back at the boy’s head, and yells -

            LIEPOLD
            Department W does not forbid my presence
            on the factory floor. That is a lie.

            He waves a document at Schindler, throws it at him.
            Schindler doesn’t bother picking it up. Instead, pointing at
            the boy, he yells to Liepold -

            SCHINDLER
            Shoot him. Shoot him!

            Liepold is so startled by the command, he doesn’t shoot. He
            doesn’t lower the gun, though, either.

            SCHINDLER
            Shoot him without a hearing. Come on.

            His finger is on the trigger, Liepold is torn, frustrated,
            hating the situation he has created. As the moments without
            a blast stretch out, both and Schindler begin to settle down.

            LIEPOLD
            He sabotaged the machine.

            Schindler glances to the boy. Then at the silent Hilo beside
            him. Part of it is blackened from an electrical fire. To
            the boy, concerned -

            SCHINDLER
            The machine’s broken?

            The boy, too terrified to speak, nods.
            132.


            LIEPOLD
            The prisoner is under the jurisdiction of
            Section D. I’ll preside over the
            hearing.

            SCHINDLER
            But the machine.

            Liepold glances to him. He seems almost distraught by the
            destruction of the machine, Schindler.

            SCHINDLER
            The machine is under the authorization of
            the Armaments Inspectorate. I will
            preside over the hearing.

            Liepold isn’t sure that’s correct, but he has no
            documentation, at least not on him, to refute it.

            229. INT. FACTORY - NIGHT 229.

            In the machine-tool section, a “judicial table” has been set
            up. At it sit Schindler, Liepold, two other SS officers, and
            an attractive German girl, a stenographer. The “saboteur,”
            the boy, Janek, stands before the court.

            JANEK
            I’m unfamiliar with the Hilo machines. I
            don’t know why I was assigned there.
            Commandant Liepold was watching me trying
            to figure it out. I switched it on and
            it blew up. I didn’t do anything. All I
            did was turn it on.

            Gone tonight is Schindler’s usual shop-floor familiarity. He
            studies the boy solemn-faced.

            SCHINDLER
            If you’re not skilled at armaments work,
            you shouldn’t be here.

            JANEK
            I’m a lathe operator.
            133.


            Schindler dismisses the defensive comment with a wave of his
            hand and gets up. He comes around and paces slowly before
            the boy. Eventually, Janek dares to speak again -

            JANEK
            Sir?

            Schindler glances up at him distractedly.

            JANEK
            I did adjust the pressure controls.

            Schindler stops, looks to the panel, and back to the boy.

            SCHINDLER
            What?

            JANEK
            I know that much about them. Somebody
            had set the pressure controls wrong. I
            had to adjust -

            Schindler slams the back of his hand so hard across Janek’s
            face, the boy almost falls. He’s stunned. So are the others
            at the table. They’ve never seen such violence from the
            Direktor. He roars -

            SCHINDLER
            The stupidity of these people. I wish
            they were capable of sabotaging a
            machine.

            Schindler’s hand comes up again and Janek recoils, expecting
            another blow. Schindler manages to hold it.

            SCHINDLER
            Get him out of my sight.

            A guard escorts the prisoner away. The panel members glance
            among themselves. Is that it? Schindler faces them and
            groans in dismay.
            134.


            230. INT. LIEPOLD’S QUARTERS - NIGHT 230.

            Liepold at his desk, typing again. This time there is no
            doubt he is composing a letter denouncing Schindler.

            231. INT. HOUSE - BRINNLITZ - NIGHT 231.

            Schindler and Emilie, her arm in his, stand around like
            unwanted guests at the party. They probably are. Him
            anyway. The other guests include local politicians who
            fought and failed to keep his camp out of Brinnlitz.
            Whenever his glance meets one of theirs, they smile tightly.

            SCHINDLER
            (to Emilie)
            Isn’t this nice.

            It’s not at all nice. He feels out of place, a feeling he’s
            not accustomed to. Fortunately, a man in uniform, someone
            Schindler can relate to, approaches cheerfully, his hand
            outstretched.

            RASCH
            Oskar, good of you to come.

            SCHINDLER
            Are you kidding, I never miss a party.
            Police Chief Rasch, my wife Emilie.

            RASCH
            How do you do?

            EMILIE
            You have a lovely home. It is nice. Big.
            The man lives well.

            RASCH
            Thank you.

            SCHINDLER
            I need a drink.
            135.


            RASCH
            Oh, God, you don’t have a drink?

            SCHINDLER
            (to Emilie)
            Wine?

            She nods. Schindler goes off in search of the bartender.
            Rasch watches after him.

            RASCH
            Your husband’s a very generous man.

            EMILIE
            (wry)
            He’s always been.

            232. INT. RASCH’S STUDY - LATER - NIGHT 232.

            Rasch and Schindler sharing cognac in the privacy of the
            Police Chief’’s study. Beyond the closed doors, the party
            continues, the sounds filtering in.

            SCHINDLER
            I need guns.

            Rasch calmly nurses his drink, his eyes revealing nothing of
            what’s going on behind them, except that the statement
            requires some elaboration.

            SCHINDLER
            One of these days the Russians are going
            to show up unannounced at my gate. I’d
            like the chance to defend myself. I’d
            like my wife to have that chance. My
            civilian engineers. My secretary.

            RASCH
            (pause; then, philosophically)
            We’re losing the war, aren’t we.

            SCHINDLER
            It kind of looks that way.
            136.


            RASCH
            (blithely)
            Pistols?

            SCHINDLER
            Pistols, rifles, carbines …
            (long pause)
            I’d be grateful.

            Rasch smiles faintly. Yes, he’s familiar, as are officials
            throughout much of Europe, with the gratitude of Oskar
            Schindler.

            233. INT. MACHINE SHOP - BRINNLITZ CAMP - NIGHT 233.

            Poldek Pfefferberg holds up a pistol, feels its weight,
            points it.

            SCHINDLER
            (calmly)
            Careful.

            Pfefferberg smiles, lowers the gun, kneels beside an open
            crate of weapons: a couple of revolvers and rifles, an old
            carbine.

            234. INT. FACTORY - DAY 234.

            From high above the factory, Stern can be seen among the
            machines talking with a worker. The man points up and
            returns to his work.

            Stern stares up, puzzled. He locates a ladder that connects
            the shop-floor to a series of overhead planks and, with
            trepidation, climbs.

            He reaches a shaky landing high above the machines, navigates
            the primitive catwalks with great care, comes to a large
            water tank near the workshop ceiling.

            SCHINDLER
            Stern.
            137.


            Above the rim of the tank, amid rising steam, Schindler’s
            head appears. Then disappears. Stern climbs a set of rungs
            on the tank, reaches the top and finds inside, lolling in the
            steaming water, Schindler and the blonde stenographer from
            the trial.

            STERN
            Excuse me.

            Neither Schindler nor the blonde seems the least bit
            embarrassed. Only Stern. He tries hard to pretend the girl
            isn’t there, but he just can’t.

            STERN
            I’ll talk to you later.

            SCHINDLER
            No, no, what, what is it?

            Schindler floats over closer to him, waits for him to report
            whatever it is he has come to report, leans closer. Finally,
            quietly -

            STERN
            Do you have any money I don’t know about?
            Hidden away someplace?

            Schindler thinks long and hard …

            SCHINDLER
            No.

            Silence except for the gently lapping water. Half-joking -

            SCHINDLER
            Why, am I broke?

            Stern glances away, doesn’t answer, just stares off. And a
            slight, slight smile, a gambler’s philosophical smile upon
            being purged of his wealth, appears on Schindler’s face.
            138.
            Genres: ["Drama","War"]

            Summary In this scene, Schindler and Stern discuss a complaint from the Armaments Board about the failed quality-control tests of their artillery shells. Schindler dismisses the problem and suggests buying shells from elsewhere to pass them off as their own. Stern is worried about the consequences and rumors of Schindler miscalibrating the machines. Schindler eventually agrees to call around and buy shells. The scene then shifts to Commandant Liepold holding a gun to a terrified boy's head, and Schindler intervenes. Schindler discovers that the boy accidentally caused a machine to explode and orders him to be taken away. Later, Schindler asks Police Chief Rasch for guns to defend his factory. The scene ends with Stern finding Schindler and a stenographer in a water tank, and Stern asks if Schindler has any hidden money.
            Strengths
            • Powerful emotional impact
            • Compelling concept
            • Strong character development
            Weaknesses
            • Limited dialogue

            Ratings
            Overall

            Overall: 9

            The scene is highly impactful and emotionally charged, highlighting the high stakes and the moral dilemma faced by Schindler.


            Story Content

            Concept: 8

            The concept of Schindler using his factory to save Jewish workers and his willingness to sacrifice profit for their safety is compelling.

            Plot: 8

            The plot revolves around Schindler's efforts to protect his workers and the challenges he faces in maintaining the factory's operations.

            Originality: 7

            The level of originality in this scene is moderate. While the setting and context of World War II have been explored in many screenplays, the specific dynamics and conflicts between the characters, as well as the moral ambiguity of the protagonist, bring a fresh approach to the familiar subject matter. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


            Character Development

            Characters: 9

            The characters, especially Schindler, are well-developed and their actions and motivations are clear.

            Character Changes: 8

            Schindler's character undergoes a change as he becomes more determined to protect his workers and takes a more active role in their defense.

            Internal Goal: 8

            The protagonist's internal goal in this scene is to maintain control and confidence in the face of challenges and setbacks. It reflects his deeper need for power and success, as well as his fear of failure and losing his reputation.

            External Goal: 7

            The protagonist's external goal in this scene is to find a solution to the quality control issues with the artillery shells and maintain the success of his business. It reflects the immediate challenge of meeting the demands of the Armaments Board and ensuring the survival of his factory.


            Scene Elements

            Conflict Level: 8

            There is a conflict between Schindler and Stern regarding the miscalibration of machines and the potential consequences for the factory.

            Opposition: 8

            The opposition in this scene is strong, as the protagonist faces challenges from both external sources (the Armaments Board) and internal conflicts (Stern's concerns and Schindler's own moral dilemmas). The audience is unsure of how the conflicts will be resolved, adding to the tension and engagement.

            High Stakes: 10

            The stakes are high as Schindler risks his reputation, livelihood, and potentially his life to protect his workers.

            Story Forward: 9

            The scene moves the story forward by showcasing Schindler's growing commitment to saving his workers and the challenges he faces.

            Unpredictability: 7

            This scene is unpredictable because it subverts the audience's expectations by having the protagonist dismiss a serious problem and propose a morally questionable solution. The conflict between Schindler and Stern also adds an element of unpredictability to the scene.

            Philosophical Conflict: 9

            There is a philosophical conflict evident in this scene between Schindler's belief in the importance of producing quality products and Stern's concern for the consequences of miscalibrating the machines. This conflict challenges Schindler's values of success and profit, as well as his worldview of prioritizing his own interests over others.


            Audience Engagement

            Emotional Impact: 10

            The scene evokes strong emotions, particularly due to Schindler's passionate defense of his workers and his willingness to take risks for their safety.

            Dialogue: 7

            The dialogue effectively conveys the tension and conflict between Schindler and Stern.

            Engagement: 8

            This scene is engaging because it presents a conflict that is relatable and raises questions about the protagonist's motivations and choices. The dialogue and actions of the characters create tension and suspense, keeping the audience invested in the outcome.

            Pacing: 9

            The pacing of the scene contributes to its effectiveness by creating a sense of urgency and tension. The dialogue and actions are concise and purposeful, keeping the scene moving at a steady pace.


            Technical Aspect

            Formatting: 9

            The formatting of this scene follows the expected format for its genre. It includes clear scene headings, character names, and dialogue formatting. The action lines are concise and effectively convey the visual and emotional elements of the scene.

            Structure: 8

            The structure of this scene follows the expected format for its genre. It begins with an exposition of the problem, followed by a series of escalating conflicts and resolutions. The scene ends with a cliffhanger, setting up the next narrative development.


            Critique
            • The scene does a good job of showcasing the tension between Schindler and the SS officers, particularly Liepold, as they navigate the challenges of running a munitions factory during wartime.
            • The dialogue is sharp and reveals the characters' motivations and personalities, particularly Schindler's cunning and resourcefulness in finding ways to keep the factory running despite the setbacks.
            • The scene also effectively portrays the harsh realities of life in the camp, such as the constant threat of violence and punishment, and the precarious nature of the workers' existence.
            • However, the scene could benefit from more visual description to help the reader better imagine the setting and the characters' movements and expressions.
            • Additionally, the scene could be improved by clarifying the timeframe and the specific stakes of the conflict between Schindler and Liepold, as it is not immediately clear what is at risk and why the outcome is important.
            Suggestions
            • Consider adding more sensory details to the scene, such as descriptions of the factory's sounds, smells, and textures, to help the reader feel immersed in the setting.
            • Consider clarifying the timeframe and the specific stakes of the conflict between Schindler and Liepold, such as by mentioning the consequences of failing to meet the Armaments Board's quality-control standards or the impact on the workers' lives.
            • Consider adding more physical movements and gestures to the scene, such as by describing the characters' postures, facial expressions, and body language, to help the reader better visualize their interactions and emotions.
            • Consider tightening up the dialogue and cutting any unnecessary words or repetitions, to help the scene flow more smoothly and efficiently.
            • Consider adding more internal thoughts or reflections from the characters, such as by revealing their fears, hopes, or doubts, to help the reader better understand their motivations and emotions.



            Scene 38 -  Burial of the Victims
            235. EXT. RURAL BRINNLITZ - DAY 235.

            In the distance, a lone boxcar, stark against the winter
            landscape. There are patches of snow on the ground. A cold
            wind blows through bare trees.

            SCHINDLER (V.O.)
            Poldek.

            236. INT. MACHINE SHOP - BRINNLITZ CAMP - DAY 236.

            Tight on Poldek Pfefferberg’s eyes behind a welder’s mask.
            He turns from his work to the voice, welding torch in his
            hand.

            237. EXT. RURAL BRINNLITZ - DAY 237.

            The torch firing at ice as hard as metal, blue flame, white
            steam. Pfefferberg’s eyes behind the mask again,
            concentrating.

            Around the abandoned boxcar, in the gruesome cold, stand
            Schindler, Emilie, a doctor, some workers and some SS guards,
            watching, waiting.

            Pfefferberg steps back. Sledge hammers pound at locks.
            Hands pull at levers. The doors begin to slide.

            Out of darkness, from inside the boxcar as the doors slide
            open, Schindler’s face is revealed, tight. He stares for an
            interminable moment before walking slowly away.

            Inside the boxcar is a tangle of limbs, a pyramid of corpses,
            frozen white.

            From a distance, a tableau: the boxcar, the workers and
            guards and Emilie outside it, Schindler, off to himself
            several steps away, all of them still as statues.

            238. EXT. CATHOLIC CEMETERY - OUTSIDE BRINNLITZ - DAY 238.

            Beyond a country church, among the stone markers of a small
            cemetery, walk Schindler and a priest.
            139.


            SCHINDLER
            It’s been suggested I cremate them in my
            furnaces. As a Catholic I will not. As
            a human being I will not.

            The priest nods; he seems relatively empathic. He offers an
            alternative -

            PRIEST
            There’s an area beyond the church
            reserved for the burial of suicides.
            Maybe I can convince the parish council
            to allow them to be buried there.

            SCHINDLER
            These aren’t suicides.

            The priest knows that. But he also knows that the provisions
            of Canon Law regarding who can and cannot be buried in
            consecrated ground are narrow.

            SCHINDLER
            These are victims of a great murder.

            239. INT. BRINNLITZ FACTORY - DAY 239.

            In a corner of the factory, workers hammer at pine lumber.
            They are building coffins.

            240. EXT. BRINNLITZ FACTORY - DAY 240.

            As workers harness horses to carts, others hoist the coffins
            into them. Schindler is there, watching. He glances up at
            one of the guard towers, expecting, perhaps, to be felled by
            a bullet.

            241. EXT. BRINNLITZ FACTORY - DAY 241.

            Beyond the wire, Rabbi Levartov leads the horse-drawn carts.
            Around him walk a minyan - a quorum of ten males necessary
            for the rite. A few guards lag behind.
            140.


            242. INT. BRINNLITZ FACTORY - SAME TIME - DAY 242.

            Work continues, but it’s apparent in their eyes they are only
            physically here; in spirit they are all walking alongside the
            carts, one great moral force.

            The roar of a machine suddenly, inexplicably, dies. Then
            another. And another. Schindler, standing at the main power
            panel, pulls the last of the switches, and the factory
            plunges into absolute silence.

            243. EXT. CATHOLIC CEMETERY - DAY 243.

            Just beyond the perimeter of the Catholic cemetery, the
            minyan quickly and quietly recites Kaddish over the dead as
            their coffins are lowered into individual graves.

            Then, there is only a low breathing of wind.

            244. EXT. BRINNLITZ CAMP - ANOTHER DAY 244.

            Amon Goeth, in civilian clothes, emerges from a car. His
            eyes, sallow from inadequate sleep, sweep across the
            fortified compound with envy. It’s a nice place Oskar’s got
            here.

            245. INT. OFFICE - BRINNLITZ FACTORY - SAME TIME - DAY 245.

            Stern, at a window, stares down at Goeth beside his car.
            Softly, gravely -

            STERN
            What’s he doing here?

            Schindler appears beside Stern, glances down. He’s lost
            weight, Goeth. The old suit he wears seems too big for him.
            Alone down there he seems disoriented.

            SCHINDLER
            Probably looking for a handout.
            141.
            Genres: ["Drama","War"]

            Summary In this scene, Schindler and the others discover a pile of frozen corpses in an abandoned boxcar. Schindler is shocked and later discusses the burial of the victims with a priest. Workers in the factory build coffins, which are loaded onto carts and taken to a cemetery. The main conflict is resolved when the priest agrees to allow the victims to be buried in the cemetery. The scene ends with Schindler and Stern observing Amon Goeth's arrival at the camp.
            Strengths
            • Powerful emotional impact
            • Compelling character development
            • Exploration of moral themes
            Weaknesses
            • Lack of standout dialogue or memorable lines

            Ratings
            Overall

            Overall: 9

            The scene effectively conveys the somber and reflective tone, and the sentiment of sadness and determination. It also introduces a significant conflict between Schindler's moral values and the Catholic Church's burial restrictions. The scene moves the story forward by showing the aftermath of the mass murder and Schindler's response to it. The stakes are high as Schindler risks his reputation and relationships to honor the victims. The emotional impact is strong, as the audience witnesses the horror of the mass murder and Schindler's emotional response. The character changes are evident in Schindler's resolve to defy the Catholic Church's restrictions and give the victims a proper burial.


            Story Content

            Concept: 8

            The concept of burying the victims and reflecting on the tragedy is powerful and emotionally resonant. It explores themes of morality, compassion, and the consequences of mass murder. The importance of this concept in the scene is high, as it showcases Schindler's moral growth and his commitment to honoring the victims.

            Plot: 7

            The plot of the scene revolves around the burial of the victims and Schindler's conflict with the Catholic Church's burial restrictions. It effectively conveys the aftermath of the mass murder and Schindler's emotional response. The importance of the plot in the scene is moderate, as it sets up Schindler's moral dilemma and foreshadows his future actions.

            Originality: 7

            The level of originality in this scene is moderate. While the setting and themes of the Holocaust have been explored in various films and literature, the specific events and dilemmas depicted in this scene offer a fresh perspective. The authenticity of the characters' actions and dialogue adds to the originality, as it reflects the historical context and the moral complexities of the time.


            Character Development

            Characters: 8

            The characters in the scene, particularly Schindler, are well-developed and their emotions and motivations are clearly portrayed. Schindler's determination to honor the victims and his conflict with the Catholic Church's restrictions are compelling. The speaking style and unique phrases of the characters are not explicitly mentioned in the scene, but Schindler's dialogue reflects his resolute and compassionate nature.

            Character Changes: 9

            Schindler undergoes a significant character change in the scene. He defies the Catholic Church's burial restrictions and shows a strong commitment to honoring the victims. This change highlights his moral growth and determination.

            Internal Goal: 8

            The protagonist's internal goal in this scene is not explicitly stated, but it can be inferred that Schindler is grappling with feelings of guilt, remorse, and responsibility for the victims of the Holocaust. He is deeply affected by the sight of the frozen corpses in the boxcar and is driven to find a way to honor their memory and give them a proper burial.

            External Goal: 7

            The protagonist's external goal in this scene is to arrange for the burial of the victims of the Holocaust. This goal reflects the immediate circumstances and challenges Schindler is facing, as he is trying to navigate the limitations imposed by the Catholic Church and find a way to honor the victims' memory.


            Scene Elements

            Conflict Level: 8

            The conflict in the scene arises from Schindler's conflict with the Catholic Church's burial restrictions and his determination to honor the victims. It adds tension and emotional depth to the scene.

            Opposition: 8

            The opposition in this scene is strong, as Schindler is faced with the limitations imposed by religious doctrine and the challenges of finding a proper burial for the victims of the Holocaust. The audience is unsure of how Schindler will overcome these obstacles, creating a sense of tension and anticipation.

            High Stakes: 9

            The stakes are high in the scene as Schindler risks his reputation and relationships to honor the victims. The consequences of his actions could have significant repercussions.

            Story Forward: 8

            The scene moves the story forward by showing the aftermath of the mass murder and Schindler's response. It sets up Schindler's moral dilemma and foreshadows his future actions.

            Unpredictability: 8

            This scene is unpredictable because it presents unexpected challenges and dilemmas for the protagonist. The audience is unsure of how Schindler will navigate the limitations imposed by religious doctrine and find a way to honor the victims of the Holocaust. The unpredictability adds to the tension and emotional impact of the scene.

            Philosophical Conflict: 9

            There is a philosophical conflict evident in this scene between Schindler's belief in the sanctity of human life and the narrow provisions of Canon Law regarding burial in consecrated ground. This conflict challenges Schindler's values and worldview, as he is faced with the dilemma of how to properly honor the victims of the Holocaust within the constraints of religious doctrine.


            Audience Engagement

            Emotional Impact: 10

            The scene has a strong emotional impact, as it depicts the aftermath of a mass murder and the characters' grief and determination. The audience is likely to feel sadness and empathy for the victims and admiration for Schindler's moral stance.

            Dialogue: 7

            The dialogue in the scene effectively conveys the characters' emotions and motivations. It showcases Schindler's determination and moral stance. However, there are no standout or memorable lines in the scene.

            Engagement: 9

            This scene is engaging because it presents a powerful and emotionally charged moment in the story. The visual descriptions and the internal struggles of the protagonist create a sense of tension and anticipation, keeping the audience invested in the outcome. The scene also raises important moral and philosophical questions, further engaging the audience on an intellectual level.

            Pacing: 9

            The pacing of the scene contributes to its effectiveness by creating a sense of tension and emotional resonance. The scene transitions smoothly between different locations and events, maintaining a steady rhythm that keeps the audience engaged. The pacing allows for moments of reflection and introspection, enhancing the impact of the emotional moments.


            Technical Aspect

            Formatting: 9

            The formatting of this scene follows the expected format for its genre. It includes clear scene headings, concise and descriptive action lines, and properly formatted dialogue. The formatting enhances the readability and clarity of the scene, allowing the reader to easily visualize the events and understand the character interactions.

            Structure: 9

            The structure of this scene follows the expected format for its genre. It effectively transitions between different locations and events, maintaining a clear narrative flow and pacing. The scene is well-structured in terms of its placement within the overall story arc, as it contributes to the development of the protagonist's internal and external goals.


            Critique
            • The scene is very powerful and effectively conveys the emotional impact of the discovery of the boxcar of corpses.
            • The description of the setting and the visual elements is very effective in creating a stark and somber mood.
            • The dialogue between Schindler and the priest is well-written and adds depth to the scene, highlighting the moral and ethical dilemmas of the situation.
            • The scene could benefit from more development of the characters' emotions and reactions to the discovery of the boxcar, for example, through the use of close-ups and point-of-view shots.
            • The scene could also benefit from more explicit connections to the previous scene, for example, by showing the emotional state of Schindler and Stern as they approach the boxcar.
            Suggestions
            • Consider adding more close-ups of the characters' faces and reactions to the discovery of the boxcar to emphasize the emotional impact.
            • Consider adding a line or two of dialogue between Schindler and Stern as they approach the boxcar to show their emotional state and connection to the situation.
            • Consider adding a line or two of dialogue between Schindler and Emilie to show their emotional connection and the impact of the discovery on their relationship.
            • Consider adding a line or two of dialogue between Schindler and the workers to show their emotional connection and the impact of the discovery on the community.
            • Consider adding a line or two of dialogue between Schindler and the priest to show the moral and ethical dilemmas of the situation and the impact on Schindler's faith.



            Scene 39 -  Amon Goeth's Visit to the Brinnlitz Factory
            246. INT. BRINNLITZ FACTORY - DAY 246.

            Workers glance up at a horrible apparition from the pit of
            their foulest dreams - Amon Goeth crossing through the
            factory.

            Schindler, his arm around the killer’s shoulder as if he were
            a long lost brother, leads him across the shop-floor, proudly
            pointing out to him the huge thundering Hilo machines.

            247. INT. OFFICES, BRINNLITZ FACTORY - DAY 247.

            Schindler takes an old suitcase from his office closet, sets
            it on his desk, snaps it open revealing clothes, Goeth’s
            uniforms, his medals. The ex-Oberstrumfuhrer touches the
            fabric gently, then glances up gratefully to his friend.

            GOETH
            Thank you.

            248. INT. OUTER OFFICES - BRINNLITZ FACTORY - DAY 248.

            Beyond the frosted glass of Schindler’s office door, Stern
            can see the wavering forms of the two Nazi Party members
            sharing cognac and stories.

            249. INT. BRINNLITZ FACTORY - DAY 249.

            Warmed by cognac and friendship, Goeth comes through the
            factory again carrying the suitcase, Schindler at his side,
            steering him to some degree.

            Goeth’s hand comes up to his cheek as if to brush away a
            bothersome fly. But it isn’t a fly. One of the workers has
            spit on him. He turns in disbelief.

            Silence as his hand drops to his side, to the holster he
            forgets isn’t there. He glances around for SS guards … who
            aren’t there. He looks to Schindler, thoroughly confused,
            and whispers -

            GOETH
            Where are the guards?
            142.


            SCHINDLER
            The guards aren’t allowed on the factory
            floor. They make my workers nervous.

            Goeth stares at him bewildered. Then again at the worker who
            spit. Then at other workers, the resolve in their eyes.
            They know he has no power here, and sense he has no power
            anywhere. His own eyes drift to a woman with yarn in her
            lap, knitting needles in her hands. Is this a dream?

            SCHINDLER
            I’ll discipline him later.

            Schindler good-naturedly throws an arm around Goeth’s
            shoulder and leads him away. The workers watch as the two
            Germans disappear out the factory doors.

            250. INT. GUARDS’ BARRACKS - EVENING 250.

            A guard slowly turns the dial of a radio, finding and losing
            in static several different voices in several languages, none
            of them lasting more than a moment.

            Depression hangs over the barracks. Most of the guards are
            straining to hear the news they’ve been fearing for some time
            now, some on their bunks just staring, one at a window
            peering out at the black face of a forest as if expecting, at
            any moment, to see Russian or American troops appear.

            251. INT. WORKER’S BARRACKS - SAME TIME - EVENING 251.

            Another radio. Workers, like the guards, straining to hear.
            The dial finds, faint, mired in static, the idiosyncratic
            voice of Winston Churchill.

            252. INT. LIEPOLD’S QUARTERS - SAME TIME - EVENING 252.

            Schindler on Liepold’s doorstep. The two men considering
            each other across the threshold. Radio static filters out
            from Liepold’s room. The word “Eisenhower” cuts through
            before the speaker’s voice is buried again.
            143.


            SCHINDLER
            It’s time the guards came into the
            factory.

            He turns and walks away.

            253. INT. BRINNLITZ FACTORY - NIGHT 253.

            All twelve hundred workers and all the guards are gathered
            for the first time on the factory floor. Tension and
            uncertainty surround them. It’s ominously quiet. Then -

            SCHINDLER
            The unconditional surrender of Germany
            has just been announced. At midnight
            tonight the war is over.

            It is not his intention to elicit celebration. Indeed, his
            words, echoing and fading in the factory, echo the doubts
            they all feel.

            SCHINDLER
            Tomorrow, you’ll begin the process of
            looking for survivors of your families.
            In many cases you won’t find them. After
            six long years of murder, victims are
            being mourned throughout the world.

            Not by Untersturmfuhrer Liepold. He stands with his men,
            dying to lift his rifle and fire.

            SCHINDLER
            We’ve survived. Some of you have come up
            to me and thanked me. Thank yourselves.
            Thank your fearless Stern, and others
            among you, who, worrying about you, have
            faced death every moment.
            (glancing away)
            Thank you.

            He’s looking at the guards, thanking them, which thoroughly
            confuses the workers. Just when they thought they knew where
            his sentiments lay, he’s thanking guards.
            144.


            SCHINDLER
            You’ve shown extraordinary discipline.
            You’ve behaved humanely here. You should
            be proud.

            Or is he attempting to adjust reality, to destroy the SS as
            combatants, to alter the self-image of both the guards and
            the prisoners? Moving across the SS men’s faces, they remain
            inscrutable. Schindler turns his attention back to the
            workers, and, not at all like a confession, but rather like
            simple statements of fact:

            SCHINDLER
            I’m a member of the Nazi party. I’m a
            munitions manufacturer. I’m a profiteer
            of slave labor, I’m a criminal. At
            midnight, you will be free and I will be
            hunted.
            (pause)
            I’ll remain with you until five minutes
            after midnight After which time, and I
            hope you’ll forgive me, I have to flee.

            That worries the workers. Whenever he leaves, something
            terrible always seems to happen.

            SCHINDLER
            In memory of the countless victims among
            your people, I ask us to observe three
            minutes of silence.

            In the quite, in the silence, drifting slowly across the
            faces of the workers - the elderly, the lame, teenagers,
            wives beside husbands, children beside their parents,
            families together - it becomes clear, if it wasn’t before,
            that both as a prison and a manufacturing enterprise, the
            Brinnlitz camp has been one long sustained confidence game.

            Schindler has never stood still so long in his life. He does
            now, though, framed by his giant Hilo machines, silent at the
            close of the noisiest of wars, his head bowed, mourning the
            many dead.
            145.


            When he finally does look up he sees that he is the last to
            do so. The faces, few of which he recognizes, are all
            looking at him. He turns to speak to the guards along the
            wall again.

            SCHINDLER
            I know you’ve received orders from our
            Commandant - which he has received from
            his superiors - to dispose of the
            population of this camp.

            Apprehension spreads across the factory like a wave.
            Pfefferberg tightens his grip on the pistol under his coat.
            His ragtag irregulars do the same, the rest of their ersatz
            “arsenal” concealed behind a machine. To the guards:

            SCHINDLER
            Now would be the time to do it. They’re
            all here. This is your opportunity.

            The guards hold their weapons, as they have from the moment
            they arrived here tonight, at attention, waiting it seems, to
            be given the official order from their Commander, Liepold,
            who appears ready to give it.

            SCHINDLER
            Or …
            (he shrugs)
            … you could leave. And return to your
            families as men instead of murderers.

            Long, long silence. Finally, one of the guards slowly lowers
            his rifle, breaks ranks and walks away. Then another. And
            another. And another. Another.

            When the last is gone, the workers consider Liepold. He
            appears more an oddity than a threat. He is more an oddity
            than a threat. And he knows it. He turns and leaves.
            Genres: ["Drama","War"]

            Summary In this scene, Amon Goeth, a Nazi officer, visits the Brinnlitz factory with Oskar Schindler. Schindler shows Goeth his uniforms and medals, and they share cognac and stories. Goeth is spit on by a worker, but realizes he has no power in the factory. Schindler leads Goeth away, and the scene shifts to the guards' barracks and the workers' barracks where they listen to the radio. Schindler confronts Liepold about bringing the guards into the factory. The scene ends with Schindler gathering all the workers and guards on the factory floor to announce the unconditional surrender of Germany and their freedom.
            Strengths
            • Powerful dialogue
            • Strong emotional impact
            • Compelling character development
            Weaknesses
            • None

            Ratings
            Overall

            Overall: 9

            The scene effectively conveys the tension and uncertainty of the workers and guards, while also highlighting Schindler's internal conflict and his decision to protect the workers. The emotional impact is strong, and the dialogue is powerful and thought-provoking.


            Story Content

            Concept: 8

            The concept of the scene revolves around the power dynamics and moral choices in a concentration camp during World War II. It effectively explores themes of redemption, sacrifice, and the consequences of one's actions.

            Plot: 9

            The plot of the scene revolves around Schindler's attempt to protect the workers from the guards and his decision to reveal his true intentions. It is a pivotal moment in the story and showcases Schindler's transformation from a profiteer to a savior.

            Originality: 7

            The level of originality in this scene is moderate. While the setting and themes of World War II and the Holocaust have been explored in many films, the specific situation and characters in this scene provide a fresh approach. The authenticity of the characters' actions and dialogue adds to the originality.


            Character Development

            Characters: 9

            The characters in the scene are well-developed and their actions and dialogue reflect their motivations and conflicts. Schindler's transformation and the guards' realization of their powerlessness are particularly compelling.

            Character Changes: 9

            Schindler undergoes a significant character change in the scene, transitioning from a profiteer to a protector. The guards also experience a change as they realize their powerlessness and question their actions.

            Internal Goal: 8

            The protagonist's internal goal in this scene is to maintain control and protect the workers in the factory. This reflects Schindler's deeper desire to save as many Jewish workers as possible and his fear of being discovered as a member of the Nazi party.

            External Goal: 7

            The protagonist's external goal in this scene is to prevent the guards from carrying out orders to dispose of the population of the camp. This reflects the immediate challenge of protecting the workers from harm.


            Scene Elements

            Conflict Level: 9

            The conflict in the scene is intense and multi-layered. It includes the power struggle between the guards and the workers, Schindler's internal conflict, and the threat of violence and death.

            Opposition: 8

            The opposition in this scene is strong as the guards initially pose a threat to the workers and Schindler's goals. The audience is unsure of how the guards will react to Schindler's proposition.

            High Stakes: 9

            The stakes in the scene are high as the guards have the power to harm or kill the workers, and Schindler risks his own life to protect them. The outcome of the scene has significant consequences for the characters.

            Story Forward: 9

            The scene moves the story forward by showcasing Schindler's transformation and his decision to protect the workers. It also sets up the final act of the film and the resolution of the conflict.

            Unpredictability: 8

            This scene is unpredictable because it presents a situation where the audience doesn't know how it will go. The guards' reaction to Schindler's proposition is uncertain, adding to the tension and suspense.

            Philosophical Conflict: 9

            There is a philosophical conflict evident in this scene between the values of human decency and the values of the Nazi party. This challenges Schindler's beliefs and values as a member of the Nazi party and his worldview.


            Audience Engagement

            Emotional Impact: 10

            The scene evokes strong emotions of sadness, tension, and hope. The plight of the workers and Schindler's moral transformation elicit a powerful emotional response from the audience.

            Dialogue: 9

            The dialogue in the scene is impactful and reveals the characters' emotions, motivations, and conflicts. It effectively conveys the tension and power dynamics between the guards and the workers.

            Engagement: 9

            This scene is engaging because it creates a sense of suspense and conflict. The reader is invested in the outcome of the protagonist's goals and is curious to see how the situation will unfold.

            Pacing: 9

            The pacing of the scene contributes to its effectiveness by gradually building tension and suspense. The use of silence and pauses in the dialogue adds to the rhythm of the scene.


            Technical Aspect

            Formatting: 9

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

            Structure: 8

            The structure of this scene follows the expected format for its genre. It begins with a description of the setting, followed by a series of actions and dialogue that build tension and conflict, and ends with a resolution.


            Critique
            • The scene is very long and could potentially be broken up into multiple shorter scenes to maintain the audience's attention.
            • There are a lot of characters in this scene, and it might be difficult for the audience to keep track of who is who and what their motivations are.
            • The dialogue is very dense and could potentially be trimmed down to make it more concise and impactful.
            • The scene is very introspective and could potentially benefit from more action or visual elements to keep the audience engaged.
            • The tone of the scene is quite somber, and it might be beneficial to include some moments of levity or hope to balance out the emotion.
            Suggestions
            • Consider breaking up the scene into multiple shorter scenes to make it easier to follow.
            • Make sure to clearly establish each character and their motivations to avoid confusion.
            • Trim down the dialogue to only the most essential lines to make it more impactful and easier to follow.
            • Include more visual elements or action to keep the audience engaged and break up the introspection.
            • Consider adding moments of hope or levity to balance out the somber tone of the scene.



            Scene 40 -  Schindler's Regret
            254. EXT. BRINNLITZ CAMP - NIGHT 254.

            A watchtower. Abandoned. The perimeter wire. No sentries.
            The guard barracks. Deserted. The SS is long gone.
            146.


            255. EXT. COURTYARD - BRINNLITZ CAMP - NIGHT 255.

            Schindler and Emilie emerge from his quarters, each carrying
            a small suitcase. In the dark, some distance away from his
            Mercedes, stand all twelve hundred workers. As Schindler and
            his wife cross the courtyard to the car, Stern and Levartov
            approach. The rabbi hands him some papers.

            LEVARTOV
            We’ve written a letter trying to explain
            things. In case you’re captured. Every
            worker has signed it.

            Schindler sees a list of signatures beginning below the
            typewritten text and continuing for several pages. He
            pockets it, this new list of names.

            SCHINDLER
            Thank you.

            Stern steps forward and places a ring in Schindler’s hand.
            It’s a gold band, like a wedding ring. Schindler notices an
            inscription inside it.

            STERN
            It’s Hebrew. It says, ‘Whoever saves one
            life, saves the world.’

            Schindler slips the ring onto a finger, admires it a moment,
            nods his thanks, then seems to withdraw.

            SCHINDLER
            (to himself)
            I could’ve got more out …

            Stern isn’t sure he heard right. Schindler steps away from
            him, from his wife, from the car, from the workers.

            SCHINDLER
            (to himself)
            I could’ve got more … if I’d just … I
            don’t know, if I’d just … I could’ve got
            more…
            147.


            STERN
            Oskar, there are twelve hundred people
            who are alive because of you. Look at
            them.

            He can’t.

            SCHINDLER
            If I’d made more money …I threw away so
            much money, you have no idea. If I’d
            just …

            STERN
            There will be generations because of what
            you did.

            SCHINDLER
            I didn’t do enough.

            STERN
            You did so much.

            Schindler starts to lose it, the tears coming. Stern, too.
            The look on Schindler’s face as his eyes sweep across the
            faces of the workers is one of apology, begging them to
            forgive him for not doing more.

            SCHINDLER
            This car. Goeth would’ve bought this
            car. Why did I keep the car? Ten people,
            right there, ten more I could’ve got.
            (looking around)
            This pin -

            He rips the elaborate Hakenkreus, the swastika, from his
            lapel and holds it out to Stern pathetically.

            SCHINDLER
            Two people. This is gold. Two more
            people. He would’ve given me two for it.
            At least one. He would’ve given me one.
            One more. One more person.
            148.


            SCHINDLER
            A person, Stern. For this. One more. I
            could’ve gotten one more person I didn’t.

            He completely breaks down, weeping convulsively, the emotion
            he’s been holding in for years spilling out, the guilt
            consuming him.

            SCHINDLER
            They killed so many people …
            (Stern, weeping too,
            embraces him)
            They killed so many people …

            From above, from a watchtower, Stern can be seen down below,
            trying to comfort Schindler. Eventually, they separate, and
            Schindler and Emilie climb into the Mercedes. It slowly
            pulls out through the gates of the camp. And drives away.
            Genres: ["Drama","War"]

            Summary In this scene at the Brinnlitz camp, Schindler and Emilie prepare to leave as all twelve hundred workers stand in the dark. Stern and Levartov present Schindler with a letter and a ring from the workers. Overwhelmed with guilt, Schindler breaks down in tears, expressing regret for not saving more lives. Stern tries to console him, emphasizing the lives he did save. Schindler rips off the swastika from his lapel and offers it to Stern as a symbol of his remorse. Despite leaving the camp, Schindler's grief remains evident as he and Emilie drive away.
            Strengths
            • Powerful emotional impact
            • Strong character development
            • Poignant dialogue
            Weaknesses
            • Limited external conflict

            Ratings
            Overall

            Overall: 9

            The scene is emotionally powerful and showcases the internal struggle of the protagonist. It effectively conveys the themes of guilt, regret, and the weight of responsibility.


            Story Content

            Concept: 8

            The concept of the scene, focusing on Schindler's realization of his missed opportunities to save more lives, is impactful and thought-provoking.

            Plot: 7

            The plot of the scene revolves around Schindler's emotional breakdown and his realization of the magnitude of the lives lost. It serves as a turning point in his character arc.

            Originality: 9

            This scene demonstrates a high level of originality. The situation of the protagonist confronting his guilt and remorse in the aftermath of the Holocaust is unique and fresh. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


            Character Development

            Characters: 9

            The characters in the scene, particularly Schindler and Stern, are well-developed and their emotions are deeply felt. Their interactions and dialogue convey the weight of the situation.

            Character Changes: 9

            Schindler undergoes a significant character change in the scene, as he confronts the magnitude of his inaction and experiences a profound emotional transformation.

            Internal Goal: 9

            The protagonist's internal goal in this scene is to confront his guilt and remorse for not doing enough to save more lives during the Holocaust. It reflects his deeper need for redemption and his fear of being responsible for the deaths of so many people.

            External Goal: 8

            The protagonist's external goal in this scene is to leave the camp with his wife and the workers. It reflects the immediate circumstances of the camp's liberation and the challenge of ensuring the safety of the workers.


            Scene Elements

            Conflict Level: 5

            The conflict in the scene is primarily internal, as Schindler grapples with his guilt and regret. There is also a sense of external conflict in the backdrop of the Holocaust and the lives lost.

            Opposition: 8

            The opposition in this scene is strong as the protagonist confronts his guilt and remorse. The audience is unsure of how he will reconcile his actions and find redemption.

            High Stakes: 9

            The stakes in the scene are incredibly high, as they involve the lives of thousands of people and the moral responsibility of the protagonist.

            Story Forward: 7

            The scene moves the story forward by showcasing Schindler's emotional journey and his realization of the importance of his actions. It sets the stage for the resolution of the film.

            Unpredictability: 7

            This scene is unpredictable because it explores the protagonist's internal conflict and emotional breakdown, which may not be expected based on the previous scenes. The audience may not anticipate the depth of the protagonist's guilt and remorse.

            Philosophical Conflict: 8

            The philosophical conflict evident in this scene is the protagonist's struggle with the value of individual lives and the weight of his own actions. It challenges his beliefs and values regarding the importance of saving lives and the guilt he feels for not doing more.


            Audience Engagement

            Emotional Impact: 10

            The scene is highly emotionally impactful, evoking a strong sense of sadness, remorse, and empathy for the characters and the victims of the Holocaust.

            Dialogue: 8

            The dialogue in the scene effectively conveys the characters' emotions and inner turmoil. It is poignant and impactful.

            Engagement: 10

            This scene is engaging because it portrays the protagonist's emotional journey and the weight of his actions. The intense dialogue and the emotional performances of the characters draw the audience in.

            Pacing: 9

            The pacing of the scene contributes to its effectiveness by allowing the emotional intensity to build gradually. The pauses and moments of silence enhance the impact of the protagonist's emotional breakdown.


            Technical Aspect

            Formatting: 9

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

            Structure: 8

            The structure of this scene follows the expected format for its genre. It begins with a description of the location, introduces the characters, and progresses through dialogue and action.


            Critique
            • The scene is a powerful and emotional climax to the story, effectively conveying Schindler's guilt and remorse for not having done more to save lives.
            • The dialogue between Schindler and Stern is well-written and poignant, capturing the essence of Schindler's character and his motivations.
            • The use of visual imagery, such as the watchtower and the perimeter wire, serves to emphasize the significance of the moment and the weight of the situation.
            • The pacing of the scene is well-done, building up to the emotional climax and allowing the characters to express their feelings in a believable and impactful way.
            Suggestions
            • Consider adding more sensory details to the scene, such as the sound of the workers' voices or the feel of the cold night air, to further immerse the reader in the moment.
            • Consider expanding on the moment where Schindler breaks down and weeps, allowing the reader to fully experience the depth of his emotions and the weight of his guilt.
            • Consider adding a final moment of reflection or resolution for Schindler, such as a final look back at the camp or a moment of closure with Stern, to bring the scene to a satisfying conclusion.



            Scene 41 -  Liberation at Brinnlitz
            256. EXT. BRINNLITZ - NIGHT 256.

            A panzer emerges from the treeline well beyond the wire of
            the camp and just sits there growling like a beast. Suddenly
            it fires a shell at nothing in particular, at the night - an
            exhibition of random spite - then turns around and rolls back
            into the forest.

            257. EXT. BRINNLITZ CAMP - SAME TIME - NIGHT 257.

            From a watchtower, a couple of workers, having witnessed the
            tank’s display of impotent might, can make little sense of
            it. Below, many of the workers mill around the yard, waiting
            to be liberated. No one seems to know what else to do.

            258. EXT. BRINNLITZ - DAY 258.

            Some Czech partisans emerge from the forest. They come down
            the hill and casually approach the camp. Reaching the wire,
            they’re met by Pfefferberg and some other workers, rifles
            slung over their shoulders. Through the fence -

            PARTISAN
            It’s all over.
            149.


            PFEFFERBERG
            We know.

            PARTISAN
            (pause)
            So what are you doing? You’re free to go
            home.

            PFEFFERBERG
            When the Russians arrive. Until then
            we’re staying here.

            The partisan shrugs, Suit yourself, and wanders back toward
            the trees with his friends.

            259. EXT. BRINNLITZ CAMP - NIGHT 259.

            Five headlights appear out of the night, five motorcycles
            marked with the SS Death’s-head insignia. They turn onto the
            road leading to the camp gate and park, the riders shutting
            off the engines.

            SS NCO
            Hello?

            Shapes materialize out of the darkness within the camp.
            Several armed and dangerous Jews.

            260. EXT. BRINNLITZ CAMP - LATER - NIGHT 260.

            As the cyclists fill their tanks with gasoline borrowed from
            the camp, the workers keep their rifles pointed at them. The
            NCO in charge lines the gas cans neatly back up against the
            wire.

            NCO IN CHARGE
            Thank you very much.

            He climbs onto his motorcycle. The others climb onto theirs.
            And drive away.
            150.


            261. EXT. BRINNLITZ CAMP - DAWN 261.

            A lone Russian officer on horseback, tattered coat, rope for
            reins, emerges from the forest. As he draws nearer, it
            becomes apparent to the workers assembling on the camp yard,
            that the horse is a mere pony, the Russian’s feet in stirrups
            nearly touching the ground beneath the animal’s skinny
            abdomen.

            He reaches the camp, climbs easily down from the horse and,
            in a loud voice, addresses the hundreds of workers standing
            at the fence:

            RUSSIAN
            You have been liberated by the Soviet
            Army.

            This is it? This one man? The workers wait for him to say
            more. He waits for them to move, to leave, to go home.
            Finally -

            RUSSIAN
            What’s wrong?

            A few of the workers come out from behind the fence to talk
            with him.

            WORKER
            Have you been in Poland?

            RUSSIAN
            I just came from Poland.

            WORKER
            Are there any Jews left?

            The Russian has to think. Eventually he shrugs, ‘no,’ not
            that he saw, and climbs back onto his pony to leave.

            WORKER
            Where should we go?
            151.


            RUSSIAN
            I don’t know. Don’t go east, that’s for
            sure, they hate you there.
            (pause)
            I wouldn’t go west either if I were you.

            He shrugs and gives his little horse a kick in the ribs.

            WORKER
            We could use some food.

            The Russian looks confused, glances off. The quiet hamlet of
            Brinnlitz sits there against the mountains not half a mile
            away.

            RUSSIAN
            Isn’t that a town over there?

            Of course it is. But the idea that they could simply walk
            over there is completely foreign to them. The Russian rides
            away.
            Genres: ["Drama","War"]

            Summary In this scene at the Brinnlitz camp, a panzer tank emerges from the forest and fires a shell randomly before retreating. Czech partisans offer the workers their freedom, but they choose to stay until the Russians arrive. SS officers arrive and are confronted by armed Jews, but they fill their tanks with gasoline and leave. The scene ends with a lone Russian officer on horseback arriving and informing the workers that they have been liberated.
            Strengths
            • Powerful emotional impact
            • Effective portrayal of hope and resilience
            • Moving the story forward
            Weaknesses
            • Minimal dialogue

            Ratings
            Overall

            Overall: 9

            The scene effectively conveys the emotional impact of the workers' liberation and the contrast between the dark past and the hopeful future. It also moves the story forward by showing the resolution of the characters' struggles.


            Story Content

            Concept: 8

            The concept of liberation and the aftermath of the Holocaust is a powerful and important theme in the scene. It highlights the resilience of the workers and the impact of the war on their lives.

            Plot: 8

            The plot of the scene revolves around the liberation of the workers and their uncertain future. It effectively builds tension and resolves the conflict of their captivity.

            Originality: 6

            The level of originality in this scene is moderate. While the setting of a concentration camp during World War II is familiar, the specific interactions and dialogue between the characters provide fresh insights into the challenges faced by the workers and their search for safety.


            Character Development

            Characters: 9

            The characters in the scene, particularly the workers, exhibit strong emotions and undergo significant changes. Their resilience and hope for a better future are portrayed effectively.

            Character Changes: 8

            The workers undergo a significant change from captivity to liberation. Their hope for a better future and their resilience are highlighted.

            Internal Goal: 8

            The protagonist's internal goal in this scene is to find a sense of freedom and safety. They desire to wait for the arrival of the Russians before leaving the camp, reflecting their deeper need for security and their fear of the unknown.

            External Goal: 7

            The protagonist's external goal in this scene is to gather information and make decisions about their next steps. They ask the Russian officer about the situation in Poland and where they should go.


            Scene Elements

            Conflict Level: 6

            The conflict in the scene is primarily internal, as the workers grapple with their uncertain future. The external conflict is resolved with the arrival of the Soviet Army.

            Opposition: 7

            The opposition in this scene is strong as the characters face challenges and conflicting information about their situation. The audience is unsure of how the characters will navigate these obstacles.

            High Stakes: 8

            The stakes in the scene are high as the workers face an uncertain future and the possibility of further persecution. The arrival of the Soviet Army brings hope and relief.

            Story Forward: 9

            The scene moves the story forward by resolving the conflict of the workers' captivity and setting the stage for their future. It also highlights the impact of the war on their lives.

            Unpredictability: 7

            This scene is unpredictable because it introduces unexpected elements, such as the tank's random firing and the arrival of the Russian officer on a pony. These events create uncertainty and surprise for the characters and the audience.

            Philosophical Conflict: 6

            There is a philosophical conflict evident in this scene between the protagonist's desire for safety and the Russian officer's lack of knowledge and indifference towards their situation. This challenges the protagonist's belief in the possibility of finding a safe place to go.


            Audience Engagement

            Emotional Impact: 10

            The scene evokes strong emotions, particularly sadness for the past suffering and hope for the future. The liberation of the workers is a powerful and emotional moment.

            Dialogue: 7

            The dialogue in the scene is minimal but impactful. It conveys the workers' desire for information and their uncertainty about the future.

            Engagement: 9

            This scene is engaging because it presents a tense and uncertain situation for the characters. The dialogue and actions create a sense of anticipation and curiosity about the characters' fates.

            Pacing: 8

            The pacing of the scene contributes to its effectiveness by creating a sense of tension and urgency. The concise and impactful writing keeps the story moving forward and maintains the audience's interest.


            Technical Aspect

            Formatting: 9

            The formatting of this scene follows the expected format for its genre. It includes proper scene numbering, indentation, and spacing, making it easy to read and understand.

            Structure: 8

            The structure of this scene follows the expected format for its genre. It includes clear scene headings, concise action lines, and dialogue that advances the plot and reveals character motivations.


            Critique
            • The scene is very descriptive and paints a vivid picture of the setting and the emotions of the characters. However, there is a lack of clear conflict or tension that drives the scene forward.
            • The scene feels disconnected from the previous one, as there is no clear connection between Schindler and Emilie driving away and the Russian officer's arrival. It would be helpful to provide more context or establish a clearer transition.
            • The dialogue between the Russian officer and the workers is well-written, but the scene could benefit from more interaction or conflict between the characters to heighten the emotional stakes.
            Suggestions
            • Consider adding a clear conflict or tension that drives the scene forward, such as a disagreement between the workers and the Russian officer about what to do next.
            • Establish a clearer connection or transition between the previous scene and this one, to help the reader understand how the two are related.
            • Add more interaction or conflict between the characters in the scene, such as a debate about what to do next or a disagreement about the best course of action.



            Scene 42 -  A Dinner Invitation
            262. EXT. BRINNLITZ - DAY 262.

            All twelve hundred of them, a great moving crowd coming
            forward, crosses the land laying between the camp, behind
            them, and the town, in front of them.

            Tight on the FACE of one of the MEN.

            Tight on TYPEWRITER KEYS rapping his NAME.

            Tight on A PEN scratching out the words, “METAL POLISHER” on
            a form.

            Tight on the KEYS typing, “TEACHER.”

            Tight on his FACE in the crowd.

            Tight on the face of a woman in the moving crowd. The keys
            typing her name. The pen scratching out “LATHE OPERATOR.”
            The keys typing “PHYSICIAN.” Tight on her face.
            152.


            Tight on a man’s face. His name. Pen scratching out
            “ELECTRICIAN.” Keys typing “MUSICIAN.” His face.

            A woman’s face. Name. Pen scratching out “MACHINIST.” Keys
            typing “MERCHANT.” Face.

            “CARPENTER.” Face. “SECRETARY.” Face. “DRAFTSMAN.” Face.
            “PAINTER.” Face. “JOURNALIST.” Face. “NURSE.” Face.
            “JUDGE.” Face. Face. Face. Face.

            HARD CUT TO:

            263. EXT. FRANKFURT - DUSK (1955) 263.

            A street of apartment buildings in a working class
            neighborhood of the city.

            264. INT. APARTMENT BUILDING - DUSK 264.

            The door to a modest apartment opens revealing Oskar
            Schindler. The elegant clothes are gone but the familiar
            smile remains.

            SCHINDLER
            Hey, how you doing?

            It’s Poldek Pfefferberg out in the hall.

            PFEFFERBERG
            Good. How’s it going?

            SCHINDLER
            Things are great, things are great.

            Things don’t look so great. Schindler isn’t penniless, but
            he’s not far from it, living alone in the one room behind
            him.

            PFEFFERBERG
            What are you doing?
            153.


            SCHINDLER
            I’m having a drink, come on in, we’ll
            have a drink.

            PFEFFERBERG
            I mean where have you been? Nobody’s seen
            you around for a while.

            SCHINDLER
            (puzzled)
            I’ve been here. I guess I haven’t been
            out.

            PFEFFERBERG
            I thought maybe you’d like to come over,
            have some dinner, some of the people are
            coming over.

            SCHINDLER
            Yeah? Yeah, that’d be nice, let me get
            my coat.

            Pfefferberg waits out in the hall as Schindler disappears
            inside for a minute. The legend below appears:

            AMON GOETH WAS ARRESTED AGAIN,
            WHILE A PATIENT IN AN SANITARIUM
            AT BAD TOLZ.


            GIVING THE NATIONAL SOCIALIST
            SALUTE, HE WAS HANGED IN
            CRACOW FOR CRIMES AGAINST
            HUMANITY

            Schindler reappears wearing a coat, steps out into the hall,
            forgets something, turns around and goes back in.

            OSKAR SCHINDLER FAILED AT
            SEVERAL BUSINESSES, AND
            MARRIAGE, AFTER THE WAR
            154.


            IN 1958, HE WAS DECLARED A
            RIGHTEOUS PERSON BY THE
            COUNCIL OF THE YAD VASHEM
            IN JERUSALEM, AND INVITED TO
            PLANT A TREE IN THE AVENUE
            OF THE RIGHTEOUS.

            IT GROWS THERE STILL.

            He comes back out with a nice bottle of wine in his hand,
            and, as he and Pfefferberg disappear down the stairs
            together -

            He comes back out with a nice bottle of wine in his hand,
            and, as he and Pfefferberg disappeaer down the stairs
            together -

            SCHINDLER’S VOICE
            Mila’s good?

            PFEFFERBERG’S VOICE
            She’s good.

            SCHINDLER’S VOICE
            Kids are good? Let’s stop at a store on
            the way so I can buy them something.

            PFEFFERBERG’S VOICE
            They don’t need anything. They just want
            to see you.

            SCHINDLER’S VOICE
            Yeah, I know. I’d like to pick up
            something for them. It’ll only take a
            minute.

            Their voices face. Against the empty hallway appears a faint
            trace of the image of the factory workers, through the wire,
            walking away from the Brinnlitz camp. And the legend:
            155.


            THERE ARE FEWER THAN FIVE
            THOUSAND JEWS LEFT ALIVE
            IN POLAND TODAY


            THERE ARE MORE THAN SIX THOUSAND
            DESCENDANTS OF THE SCHINDLER JEWS.
            Genres: ["Drama","Historical"]

            Summary In this scene, a great moving crowd of twelve hundred people crosses the land between the camp and the town. The scene then cuts to Oskar Schindler in Frankfurt, living alone in a modest apartment. Poldek Pfefferberg visits Schindler and invites him to have dinner with some people. Schindler agrees and goes to get his coat. The scene ends with Schindler and Pfefferberg leaving together.
            Strengths
            • Emotional depth
            • Character development
            • Powerful themes
            Weaknesses
            • Limited external conflict
            • Lack of action

            Ratings
            Overall

            Overall: 9

            The scene effectively captures the emotional impact of the story and provides closure to the narrative. The dialogue and character development are strong, and the theme of redemption is powerfully conveyed.


            Story Content

            Concept: 8

            The concept of redemption and the consequences of one's actions are explored in depth. The scene highlights the moral dilemma faced by Schindler and the impact of his choices.

            Plot: 8

            The plot focuses on the aftermath of the war and Schindler's emotional journey. It effectively ties up loose ends and provides resolution to the story.

            Originality: 7

            The level of originality in this scene is moderate. While the post-war setting and themes of redemption and human connection are familiar, the specific portrayal of the protagonist's internal struggle and the use of visual storytelling techniques add a fresh approach to the narrative. The authenticity of the characters' actions and dialogue contributes to the overall originality.


            Character Development

            Characters: 9

            The characters are well-developed and their emotions are portrayed convincingly. Schindler's internal conflict and transformation are particularly compelling.

            Character Changes: 9

            Schindler undergoes a significant character change, from a self-centered businessman to a compassionate savior. His transformation is evident in his emotional breakdown and expressions of regret.

            Internal Goal: 8

            The protagonist's internal goal in this scene is to reconnect with his friends and acquaintances and to find a sense of belonging and purpose after the war. It reflects his deeper need for human connection and his desire to make amends for his past actions.

            External Goal: 7

            The protagonist's external goal in this scene is to join his friends for dinner and spend time with them. It reflects the immediate circumstances of his isolated and lonely life after the war.


            Scene Elements

            Conflict Level: 4

            The conflict in the scene is primarily internal, as Schindler grapples with his guilt and regrets. There is also a sense of external conflict as the characters face the aftermath of the war.

            Opposition: 6

            The opposition in this scene is not very strong. The protagonist faces internal conflicts and challenges, but there are no external obstacles or difficult-to-overcome oppositions that create suspense or uncertainty.

            High Stakes: 6

            The stakes in the scene are primarily emotional, as Schindler grapples with his guilt and the weight of his actions. The fate of the characters and the impact of the war are also significant.

            Story Forward: 7

            The scene provides closure to the story and wraps up loose ends. It shows the impact of Schindler's actions and the fate of the characters.

            Unpredictability: 7

            This scene is unpredictable because it introduces the protagonist's internal conflict and leaves the audience wondering about his past actions and the consequences he will face. The mention of Amon Goeth's arrest and hanging also adds an element of unpredictability.

            Philosophical Conflict: 9

            There is a philosophical conflict evident in this scene between the protagonist's past actions as a member of the Nazi party and his current desire for redemption and connection with the Jewish survivors. This conflict challenges his beliefs, values, and worldview.


            Audience Engagement

            Emotional Impact: 10

            The scene evokes strong emotions, particularly sadness and empathy. It is a poignant and moving conclusion to the story.

            Dialogue: 8

            The dialogue is poignant and reflective, capturing the characters' emotions and conveying the weight of their experiences.

            Engagement: 8

            This scene is engaging because it creates a sense of mystery and curiosity about the protagonist's past actions and their current situation. The dialogue between the protagonist and his friend also adds tension and anticipation for the upcoming dinner.

            Pacing: 8

            The pacing of the scene contributes to its effectiveness by gradually building tension and anticipation through the use of concise and focused storytelling. The rhythm of the scene reflects the protagonist's internal thoughts and emotions.


            Technical Aspect

            Formatting: 9

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

            Structure: 9

            The structure of this scene follows the expected format for its genre. It begins with a wide shot of the moving crowd, then focuses on the protagonist's internal thoughts and emotions, and ends with a dialogue scene that sets up the next narrative development.


            Critique
            • The scene shift from the emotional and tense ending of the previous scene to Schindler's post-war life feels abrupt and lacks a smooth transition.
            • The dialogue between Schindler and Pfefferberg in the hallway could benefit from more subtext and tension, given Schindler's guilt and financial struggles.
            • The use of tight shots on the typewriter keys and pen scratching out names and professions is effective in emphasizing the transformation of the workers, but it might be more impactful if it were integrated more seamlessly with the rest of the scene.
            Suggestions
            • Consider adding a brief transition or reflection from Schindler to motivate his post-war situation, providing a better emotional connection between the two scenes.
            • Explore the subtext of Schindler's financial struggles and guilt, allowing the dialogue between Schindler and Pfefferberg to reveal more about Schindler's inner turmoil.
            • Integrate the tight shots of the typewriter keys and pen scratching out names more organically with the scene, perhaps by having Schindler observe the workers typing and reflecting on their transformations.