EXT. ESTABLISHING SHOT: 1942 NOVOROSSIYSK, HARBOR, RUSSIA.
DAY
KLARISA ANANIAN V.O.
I remember the day the Germans
came, it was in the summer of 1942.
We lived near a harbor in
Navorossiysk. Me and my friends
were playing outside when we saw
the Nazi trucks coming, dozens of
them....
The serenity of the early morning is shattered as caravans of
German military trucks and tanks, symbols of impending doom,
make their descent. They navigate the curvy mountain roads
with a mechanical precision, an iron serpent winding its way
into the heart of the harbor city. The ominous rumble of
engines echoes against the stone, a harbinger of the turmoil
to come.
INT. SMALL ONE-ROOM STRUCTURE - DAY
In stark contrast to the cold metal intruding upon the city,
a small structure stands, its walls pieced together from
salvaged wood, a testament to resilience in the face of
adversity. Within, the air is warm, filled with the scent of
fish cooking, a simple yet profound act of defiance against
the encroaching darkness.
KLARISA ANANIAN, eight years of vibrant life wrapped in a
frame too skinny and awkward for her boundless energy, moves
within this humble abode. Her eyes, wide with curiosity and
unmarred by the world outside, sparkle with an innocence that
belies the shadow looming over her city.
Her mother, ANNA, with beauty untouched by their harsh
circumstances, moves with a grace that lights up their
cramped space. Blue eyes reflecting the sky they wish were
peaceful, she serves a meager meal of fish and bread, each
motion infused with love, a silent promise of protection.
ASHOT, in the prime of his life, his muscular build a stark
reminder of the strength required to survive these times,
sits with them. Hunger drives him to eat quickly, yet his
presence is a pillar of strength for his family, a rock
amidst the storm that gathers outside their door.
2.
In this small room, amidst the simplicity of their meal, lies
the heart of a family determined to weather the storm, their
love a beacon of hope as the world outside braces for the
inevitable.
ASHOT
The shoe factory laid off a hundred
workers today, Armen and I are
going to work on the fishing boats.
We have no choice.
His explanation is interrupted by the cries of his toddler
son EDDIE. Anna leans down and adjusts the bedding inside a
makeshift cardboard bed. Eddie’s CRIES are interrupted by a
loud POUNDING on the front door. Before anyone can react, the
door is busted off it’s hinges, SS SOLDIERS abruptly enter
terrifying the family. They brutally grab Ashot and force him
out into the street. SS CAPTAIN GUNTHER HERMAN, tall, blonde,
steely blue eyes stares at Ashot and asks questions in
German.
CAPTAIN HERMAN
Do you have your identification
papers? What nationality are you?
Are you a Jew?
Ashot stares back unsure but realizes they think he is
Jewish. Tension mounts one of the SS Soldiers places a gun
barrel to Ashot’s head. Terrified he yells back in Russian.
ASHOT
I am not Jewish I am Armenian!
CAPTAIN HERMAN
You look Jewish!
Ashot pulls out his crucifix from around his neck and waves
it in front of their faces. They still don’t believe him
forcing him down on to his knees. Ashot begs them in German.
ASHOT
Please don’t kill me! I’m
Christian. I can prove it!
Captain Herman lets him get off his knee’s. Ashot quickly
pulls down his pants and shows them his uncircumcised penis.
The tension quickly subsides the guns are withdrawn and
Captain Herman starts to smile. Ashot smiles back relieved.
Captain Herman commands his soldiers.
3.
CAPTAIN HERMAN
Help his family onto the truck!
CUT TO:
Genres:
["Drama","Historical","War"]
Ratings
Scene
2 -
The Occupation
EXT. LARGE ORNATE ESTATE OVERLOOKING THE MAIN HARBOR. DAY
The tranquility of the morning shatters as the ominous rumble
of engines signals the arrival of a caravan of German
military trucks, their presence a dark harbinger at the
doorstep of what was once a sanctuary. The entrance, now
marred by the word "JUDEN" emblazoned in stark red letters,
stands as a grim testament to the horror that has unfolded.
The threshold of the home, a place once filled with laughter
and love, now bears witness to an unspeakable tragedy. The
Resident Family, a husband, wife, and their two young
children, lie in a grotesque tableau of violence, their
bodies mutilated, splayed on the ground in haunting
stillness, their lifeblood pooling around them, a stark
contrast to the life they once represented.
In a scene of chilling efficiency, soldiers swarm the area,
their movements brisk and detached as they escort Anna,
Klarisa, and the baby into the home, their fates uncertain,
their fear palpable in the tense air.
Ashot, his heart heavy with dread, finds his path barred by
an SS Soldier. The soldier, embodiment of the regime's
ruthless ideology, stands impassive, his eyes cold. With a
cruel gesture, he uses his rifle to signal Ashot, commanding
him to partake in the grim task of loading the dead bodies
onto the truck.
The weight of the rifle's barrel, a silent yet eloquent
command, leaves Ashot with no choice but to comply, forcing
him into a role that defies his every belief. Each step
towards fulfilling this ghastly duty is a betrayal of his
soul, a moment that will haunt him forever in the silent
watches of the night.
INT. ORNATE ESTATE HOME. DAY
The home is lavishly decorated and contains the trappings of
a very affluent family. A group of FIVE SS OFFICERS have
started to set up headquarters. Captain Herman enters they
all stop to salute him.
OFFICERS
Hail Hitler!
4.
CAPTAIN HERMAN
Hail Hitler!
Captain Herman turns to SERGEANT HANS GURLING, stocky, with a
pit bull face.
CAPTAIN HERMAN (CONT’D)
Take the woman and baby into the
kitchen and have her prepare supper
for us. Have Officer Luxembourg and
the child remove the family
portraits from the walls.
SERGEANT GURLING
Yes Commandant immediately!
He grabs an empty box and hands it to OFFICER LUXENBOURG
tall, dark hair, dark eyes, more benignant than the other
officers.
OFFICER LUXEMBOURG
Ok sweetheart follow me.
Luxembourg heads towards the stairwell and begins to remove
the family portraits from the walls. One by one he hands them
to Klarisa as she carefully places them into the box. Another
Officer rushes in and hands Klarisa a picture of Hitler. He
points to an empty spot on the wall.
OFFICER
Hang this right there!
Klarisa fumbles trying to hang the picture. He leans in and
helps her.
FADE TO BLACK.
EXT. NOVOROSSIYSK HARBOR CITY CENTER. DAY
GERMAN SOLDIERS are herding the CITIZENS onto large military
trucks. Many REFUGEES with different colored triangles sewed
into their clothing are forced onto the trucks. Ahshot and
his muscular friend ARMEN are standing near a truck
overloaded with REFUGEES marked with the Star of David.
Captain Herman and his officers keep a keen eye on the
operation. An OLD MAN on one of the trucks is frustrated he
rebels and starts a skirmish disrupting the cramped
occupants. Captain Herman signals a soldier to kill the man.
A soldier violently pulls the old man out and shoots him in
the head. Sergeant Gurling looks over to Ashot and Armen.
5.
SERGEANT GURLING
Schnell!
Ashot and Armen run over and move the body to a nearby ditch.
ARMEN
God help us!
ASHOT
(In Armenian)
You know they are going to kill all
these people on the truck. Where is
God?
FADE TO:
INT. ORNATE ESTATE HOME. NIGHT
Ashot and Anna are staying in the servants’ room adjacent to
the children’s bedroom. Ashot plays a very somber tune on
his mandolin. They have all their belongings packed into a
suitcase and a couple of pillowcases. Anna serves her husband
some tea from an old copper kettle with a spoon attached by
wire. The spoon CLANGS against kettle as she pours him a cup.
ANNA
(Yells toward the bedroom)
Klarisa, come here!
INT. CHILDREN’S BEDROOM. NIGHT
The room is expertly kept, beds made up with toys and dolls
placed neatly throughout the room. Klarisa sits on the bed
playing with a rag doll she found in the room. She gets up
and heads towards her parents.
CUT TO:
INT. SERVANTS’ ROOM NIGHT.
KLARISA
(Excited)
Mama, look, can I keep it?
Anna holds little Eddie in her arms.
ANNA
Ashot, play something happy!
6.
Ashot stops playing and gestures Klarisa to come over he
brings her close and gives her a loving hug.
ASHOT
Yes, you can keep it!
Her eyes gleam with joy as Ashot breaks out a lively dance
tune.
The family moment is again interrupted by the high pitch
SQUEAL of truck brakes. Ashot puts down the mandolin and
looks out the window.
ASHOT (CONT’D)
They’re back! Klarisa go to the
room. We need to rest SERGEANT
Gurling said we are leaving for
Warsaw early tomorrow.
FADE OUT.
Genres:
["Drama","War"]
Ratings
Scene
3 -
The Separation
EXT. ORNATE ESTATE HOME. DAY
The SS officers are packing up their cars and trucks and are
getting ready to move out. Ashot loads his family and
belongings into the back of the truck. We hear the CLANGING
from the tea kettle as he loads the last bag. Inside the
truck bed Klarisa cries snuggling up to her mother and
clutching the rag doll. Anna hugs her daughter.
ANNA
Remember whatever happens the
Virgin Mary will protect you.
KLARISA
I know Mama.
FADE TO:
EXT. WARSAW POLAND A SUB STATION ADJACENT TO THE PASSENGER
TRAIN TERMINAL. DAY
A couple of small run-down buildings used to keep track of
livestock coming through the cargo terminal are now manned by
Nazi officers. Dozens of military trucks pull up and drop
off REFUGEES slated to be transported to labor camps.
Hundreds of families of different descents line up and wait
to be shipped out on arriving cattle cars. Ashot and his
family are in line waiting with their belongings. Ashot steps
away to survey the situation and find a clean place for his
family. Ashot scans the row of cattle cars. A few moments
pass and he returns to rush them on the train.
7.
ASHOT
Come on I found a clean place
follow me!
He grabs a suitcase and realizes he needs to do two loads.
ASHOT (CONT’D)
Klarisa stay right here, I’m going
to take mamma and the baby. I’ll be
right back, Ok sweetheart?
KLARISA
Okay Papa!
Ashot secures his Wife and Baby on the train and turns to
retrieve Klarisa. People begin to push and shove as the
soldiers command them onto the train. Ashot fights to exit
the cattle car. A SOLDIER spots him trying to get off.
SOLDIER
Hey, you get back on the train!
Ashot continues to exit heading for Klarisa. The soldier
raises his rifle.
ASHOT
I have to get my daughter she’s
right there!
The soldier fires a warning shot above his head.
SOLDIER
Everyone on the train now!
In a moment frozen in time, the soldier's gun, an instrument
of dread and command, is aimed directly at Ashot's head. The
air, thick with tension and unspoken fears, vibrates with the
gravity of the moment. Ashot, caught in the crosshairs of
fate, is rendered motionless, his body rigid with shock, his
mind reeling from the swift turn of events.
With a profound sense of desperation and disbelief, he turns,
his gaze seeking Klarisa one last time, a silent plea passing
between them. Klarisa, her confusion giving way to the
dawning realization of the horror unfolding before her, meets
his gaze. The connection, a fragile thread in the face of
impending separation, is palpable.
The world seems to hold its breath as the train, indifferent
to the human drama unfolding, begins its slow departure. The
sound of metal against metal, the hiss of steam, and the
gradual increase in speed become the harbingers of an
inevitable parting.
8.
Klarisa's confusion transforms into terror, her tears a
silent testament to the fear and loss that grip her heart.
Her scream, piercing the air, is a raw expression of her
anguish, a call to a world that seems to have turned its back
on them. It's a sound that echoes the pain of countless
others caught in the merciless gears of history, a cry that
transcends the confines of their immediate tragedy, reaching
out into the void, a testament to love, loss, and the
unyielding cruelty of war.
KLARISA
Mama! Papa! Come back, don’t leave
me!
She clutches the rag doll sobbing as she watches the train
leave the station.
ASHOT
(Yelling)
I’m going to come and get you!
Anna panics she screams in horror.
ANNA
Stop the train, my daughter!
Ashot hugs Anna, tears well up in his eyes.
ASHOT
I’m going to find her! I know it.
FADE TO BLACK.
Genres:
["Drama","Historical","War"]
Ratings
Scene
4 -
The Road to Auschwitz
EXT. WARSAW POLAND. A SUB STATION ADJACENT TO THE PASSENGER
TRAIN TERMINAL. NIGHT
Hours have gone by, the train station is empty. Klarisa sits
on a bench surrounded by the remainder of her family’s
belongings. In the distance she hears the RUMBLE of more
military trucks nearing the station. As the trucks roll in we
notice they are packed with REFUGEES marked with Stars of
David or different colored triangles sewed into their
clothing. The station begins to get crowded as people are
unloaded and herded onto the arriving trains. A young woman
notices Klarisa alone and sobbing. ELLA BERNSTEIN, Elegant,
29 years old, Red hair, green eyes, milk white skin. A bright
white star is sewed into her expensive sweater.
ELLA
Where are your parents? Why are you
here alone?
9.
KLARISA
(Whimpers)
I don’t know. The soldiers took
them away on a train and left me
here. Are you the Virgin Mary?
ELLA
No, sweetie. My name is Ella
Bernstein. You can stay with me
until we find your parents.
KLARISA
(Sobbing)
Thank you.
Ella reaches into her dress pocket and pulls out a piece of
chocolate.
ELLA
You must be hungry. Here, have some
candy.
Famished Klarisa quickly eats the candy.
ELLA (CONT’D)
Is this all your stuff? I don’t
think we can carry it all.
The soldiers begin to usher people onto the train cars.
ELLA (CONT’D)
We have to hurry sweetie, just get
your clothes and what you need, the
rest has to stay.
The crowd is now being forced to hurry. Klarisa places a few
items in her pillowcase, she grabs hold of the rag doll. The
crowd swarms as Klarisa and Ella are swallowed up by the
multitude of prisoners.
CUT TO:
10.
INT. BARRACKS MONOWITZ CONCENTRATION CAMP 85 MILES AWAY FROM
AUSCHWITZ. NIGHT
Inside the cold and overcrowded barracks Ashot wanders
around. He approaches different MEN asking where the trains
in Warsaw were going. He approaches an OLDER GENTLEMAN.
ASHOT
I was told you worked at the Warsaw
station?
OLDER GENTELMAN
Yes, for three months.
ASHOT
My daughter was separated from us
at the Sub station.
OLDER GENTELMAN
What time did you get to the
station?
ASHOT
Nine am.
The old man’s eyes glaze over.
OLDER GENTELMAN
More than likely she got mixed up
with the Jews. I’m sorry to say she
was taken to Auschwitz for
extermination.
If you are going to find her, you
must leave soon. They won’t kill
her without a tattoo. But she could
starve to death.
ASHOT
(Overwhelmed)
How am I going to get there?
OLDER GENTELMAN
Once a week the Gestapo come
through looking for workers to go
to Auschwitz, you must volunteer.
FADE OUT.
EXT. MONOWITZ CONCENTRATION CAMP. DAY
Ashot and Anna meet at a barbed wire fence separating the men
and women’s barracks.
11.
ASHOT
Are they feeding you?
ANNA
They have us working in the fields,
so it’s oranges for breakfast and
potatoes for dinner.
ASHOT
I found out Klarisa is in Auschwitz
I have to get her out of there.
Anna starts to sob.
ANNA
Please find her, bring my baby back
to me. Please God help us!
Ashot is angry and frustrated.
ASHOT
I don’t think God cares but don’t
worry somehow I’ll find her and
bring her back.
ANNA
Don’t say that! You’re alive
because I pray for you.
One of the camp guards spots Ashot talking to Anna, he yells
loudly from across the field.
GUARD
Hey you! Get back over here!
ASHOT
I better go, take care of my son. I
will be back.
Anna, crying now makes the sign of the cross.
FADE TO BLACK.
INT. MENS BARRACKS MONOWITZ CONCENTRATION CAMP. DAY
The barrack door SLAMS open we hear the SOUND of Gestapo
boots on the floorboards as they abruptly enter the room.
Ashot quickly wakes up and puts on his shoes. He reaches into
his pillowcase and pulls out a golden medallion kissing it
and placing it around his neck. GESTAPO COMMANDANT MULLER
Evil incarnate, leads three of his SOLDIERS into the
barracks.
12.
COMMANDANT MULLER
Achtung!! We need five strong men,
everyone stand up, please!
The soldiers quickly move around the barracks making sure the
thirty or so men are all standing. Ashot stands at attention
flexing his muscles. COMMANDANT Muller, inspecting the men,
makes his way to Ashot.
ASHOT
(Meekly)
I’ll go.
Commandant Muller turns and looks surprised.
COMMANDANT MULLER
What did you say?
ASHOT
I will go.
Commandant Muller smiles amused by his courage.
COMMANDANT MULLER
Did you hear that boys he wants to
help us!
The Soldiers all smile they can’t believe it, no one ever
wants to go.
COMMANDANT MULLER (CONT’D)
Well, alright then.
Commandant Muller points at Ashot and FOUR OTHER MEN.
COMMANDANT MULLER (CONT’D)
You, you, you and you come with us.
Ashot grabs his belongings and follows them out.
CUT TO:
AUSCHWITZ EXTERMINATION CAMP. DAY
Commandant Muller, accompanied by GESTAPO OFFICERS, cruises
along the camp's perimeter in his open-top Mercedes sedan,
escorted by two military trucks loaded with LABORERS. The
grim reality of the camp looms in the distance. Surrounded by
barbed wire, the large field is overshadowed by towering
smokestacks belching dark smoke from the massive ovens.
Ashot, glimpsing the horrific sight, exchanges a look of
sheer terror with a fellow LABORER.
13.
ASHOT
Do you smell that? It’s the smell
of burning flesh.
As they draw nearer, the grisly operations within the camp
become painfully visible. Workers, emaciated and hollow-eyed,
shuttle between the gas chambers and the ovens, carting the
remains of those who perished. The acrid stench of death
permeates the air, overwhelming the laborers packed into the
back of the trucks. Many are sickened; some vomit, while
others cover their faces with whatever fabric they can find
to block out the unbearable smell.
The convoy halts a safe distance from the ovens. Commandant
Muller and his entourage veer off, making their way toward
the main entrance of the camp, leaving a chilling sense of
authority in their wake.
Meanwhile, soldiers don surgical masks and dismount from the
trucks, their weapons at the ready. Officer Shultz, a bulky
man with a brutish demeanor, takes charge, barking orders and
orchestrating the grim ballet of death and survival that
unfolds before them.
OFFICER SHULTZ
Everyone out of the truck! Schnell!
The prisoners are terrified, no one moves. The soldier fires
a warning shot. The men quickly exit the truck bed a few
still refuse. The soldier walks up and shoots one of them in
the head.
OFFICER SHULTZ (CONT’D)
Anyone else want to stay on the
truck?
The stragglers quickly exit. Ashot and a few others stand at
attention. In the distance, we see a MASKED, ARMED SOLDIER in
a gray uniform. He supervises the other laborers moving the
dead bodies. Officer Shultz signals for the man in the gray
uniform.
OFFICER SHULTZ (CONT’D)
You see the man in the gray uniform
you report to him! Go to him now
Schnell!
The men slowly begin to make their way towards the gas
chambers.
CUT TO:
14.
Genres:
["Historical Drama","War"]
Ratings
Scene
5 -
Hope in the Face of Despair
INT. AUSCHWITZ CONCENTRATION CAMP WOMEN’S BARRACKS. NIGHT
In the bleak and desolate expanse of the barracks, Klarisa
and Ella find themselves sequestered in a small oasis of
warmth amidst the cold harshness that surrounds them. Huddled
together on the unforgiving floor, they are bundled up in one
of the dimly lit corners, their bodies close, sharing what
little heat they can muster between them.
This makeshift refuge, sparse and uninviting though it may
be, becomes a haven for the two girls. Their proximity, a
silent testament to their bond, speaks of resilience, of
finding comfort in the presence of another soul amidst the
overwhelming despair of their circumstances.
In this corner, a flicker of human spirit endures, a quiet
defiance against the dehumanizing cold of the barracks.
Klarisa and Ella, though physically confined, hold onto a
sense of togetherness, a connection that offers a semblance
of solace and warmth in a place designed to extinguish such
sparks of humanity.
ELLA
Are you hungry sweetie?
Klarisa meekly nods yes.
ELLA (CONT’D)
I’m going to give you some bread
but don’t let anyone see you eat
it, understand?
Klarisa nods again. Ella slowly reaches into her coat pocket
and hands Klarisa a small piece of bread. Klarisa turns
facing the wall and quickly chews the stale bread. A few of
the women in the barrack begin to hum a Yiddish folk tune. We
hear a hand accordion begin to play the melody as the women
begin to sing in unison. Ella stands up and in a beautiful
commanding voice takes the lead. The mood in the barracks
changes bringing a little tranquility to the unbearable
situation. Klarisa looks up to Ella in awe as she crescendos
through the lyrics. The barrack door slams open Officer
Shultz enters accompanied by another soldier. The women stop
singing. Officer Shultz approaches Ella.
OFFICER SHULTZ
Ella Bernstein, come with me !
Klarisa grabs her dress trying to stop her from leaving.
ELLA
It’s alright sweetie I will be
right back.
15.
Klarisa starts to cry but releases her grasp. Ella is lead
away as the door slams shut behind them.
CUT TO:
INT. GESTAPO HEADQUARTERS AUSCHWITZ CONCENTRATION CAMP. DAY
Officer Shultz leads Ella and THREE YOUNG BLONDE GIRLS
dressed in sleepwear down the hallway towards the officers
lounge. Officer Shultz turns to address Ella. Ella’s piercing
green eyes size him up.
OFFICER SHULTZ
Fräulein Bernstein I must ask your
cooperation? Commandant Muller has
asked for your company.
Ella looks back at the three young girls
ELLA
You promise me Officer Shultz these
girls get fed and I will make your
beloved Commandant very happy!
Officer Shultz signals to his SOLDIER.
OFFICER SHULTZ
Get these girls some food!
Officer Shultz opens the door to the officers Lounge. Through
the doorway we see a GROUP OF SOLDIERS with uniforms
unbuttoned and partially disrobed. Taking shots and smoking
cigarettes the soldiers are in a very gregarious mood. They
all turn to stare at Ella and the girls.
CUT TO:
EXT. AUSCHWITZ EXTERMINATION CAMP GAS CHAMBER. DAY
Bodies, victims of the gas chambers, are heaped onto a large
cart, a grim procession from death to final disposal. Ashot,
masked and gloved for this morbid task, works alongside six
others, their movements mechanical in the face of such
horror. With dental pliers, he extracts gold caps from the
lifeless, emaciated forms before him. Each pull is a stark
reminder of the brutality of their circumstances, the gold
cap's removal a grotesque form of plunder. Silently, the cap
joins others in a small black bag at Ashot's waist.
16.
In the grim backdrop, Officer Shultz, flanked by soldiers,
makes his way towards the ovens, a sinister figure in this
dark tableau.
OFFICER SHULTZ
(Shouting)
Golden Boy!
Ashot reluctantly looks up.
ASHOT
(Under his tongue)
Son of Satan!
Ashot puts down the pliers and walks over to Shultz.
OFFICER SHULTZ
My Golden boy what do you have for
me today?
Ashot pulls down his mask and then hands Shultz the black bag
full of gold. Shultz opens the bag and smiles.
OFFICER SHULTZ (CONT’D)
Very impressive Ananian!
Ashot pulls out a black and white picture of Klarisa he hands
the picture to Shultz. Shultz glances at the picture.
OFFICER SHULTZ (CONT’D)
What’s this?
ASHOT
Please Commandant Shultz, it’s a
picture of my daughter she was
mistakenly put in the camp. Could
you please find her?
OFFICER SHULTZ
I can’t guarantee you but I will
see what I can do.
Shultz slides the picture into his coat pocket. Ashot puts on
the mask and gloves and returns to the gas chamber.
CUT TO:
Genres:
["Drama","Historical","War"]
Ratings
Scene
6 -
The Fate of Ella Bernstein
EXT. AUSCHWITZ EXTERMINATION CAMP. DAY
It has snowed the night before, Klarisa has wandered outside
of the women’s barracks, she starts down the row of barbed
wire fencing.
17.
She begins to notice emaciated dead bodies buried in the
snow. Klarisa approaches the end of the building and stops at
the restricted area entrance. The guard is bundled up and
asleep as she walks by unnoticed. About a hundred yards away
Ashot works sifting through ashes. Just as she is about to
turn and see him, Ella yells out.
ELLA
Klarisa come here!
Klarisa turns and steps out of frame. Ashot feeling something
looks up towards her but sees nothing. Klarisa walks back and
meets Ella at the barrack’s door.
ELLA (CONT’D)
Come inside sweetie it’s dangerous
for you to be out here.
KLARISA
I was looking for my parents maybe
they are here somewhere?
ELLA
I know you miss your family but
there are very sick people here,
and if you get too close to them
you can get sick too. Do you
understand?
Klarisa nods and follows Ella back into the building.
CUT TO:
INT. AUSCHWITZ EXTERMINATION CAMP COMMANDANT MULLER’S OFFICE.
NIGHT
Commandant Muller sits at his desk going through his
paperwork. He picks up the phone and dials.
COMMANDANT MULLER
I need to send a message!
He slams the phone down as a YOUNG SOLDIER with pen and pad
enters the office.
YOUNG SOLDIER
Yes Commandant I am ready for the
message!
18.
COMMANDANT MULLER
The message is for SS Commandant
Rudolf Hoess. The message is as
follows.... Dear revered
Commandant Hoess The Jewish problem
is solved, SS Reichsfuhrer Himmler
will be very pleased to hear we
have completed engineering and
construction of the new facility.
We will be in full operation within
twenty four hours. Please note the
numbers will double from four
thousand to eight thousand and in
time an expected outcome of twelve
thousand a day. All three Auschwitz
locations will be working at full
capacity. Hail Hitler. Your Loyal
comrade, Commandant Ludwig Muller.
End Message.
The young soldier steps backwards turns and quickly leaves.
Sergeant Shultz stands at the open door.
OFFICER SHULTZ
Commandant Muller do you have a
moment?
COMMANDANT MULLER
Yes, Officer Shultz what is it?
Commandant Muller gets up and puts on his Gestapo overcoat
and military hat.
OFFICER SHULTZ
It is about Ella Bernstein
Commandant?
Shultz hesitates not sure of himself. Muller picks up on it.
COMMANDANT MULLER
(Smiling)
It is quite a shame Officer Shultz,
beautiful woman like her. Juden
blood there is nothing we can do?
Muller heads for the door.
COMMANDANT MULLER (CONT’D)
Go ahead and give her what she
wants, it will be their last meal.
CUT TO:
19.
Genres:
["Historical Drama","War"]
Ratings
Scene
7 -
Separation and Despair
INT. AUSCHWITZ CONCENTRATION CAMP. WOMEN’S BARRACKS. NIGHT
Ella and Klarisa and two of the young blonde girls are
huddled up together on the floor.
EXT. AUSCHWITZ CONCENTRATION CAMP. WOMEN’S BARRACKS. NIGHT
Officer Shultz stands at the entrance to the barracks with
one arm around a paper bag, he pulls out the black and white
picture of Klarisa from his overcoat and glances at it as he
enters the barracks.
INT. AUSCHWITZ CONCENTRATION CAMP WOMEN’S BARRACKS. NIGHT
Officer Shultz enters and walks up to Ella and Klarisa he
looks down at Klarisa to get a good look at her. Ella stands
up to greet him.
ELLA
Good evening Sergeant Shultz!
OFFICER SHULTZ
Fräulein Bernstein compliments of
Commandant Muller.
Shultz hands her the paper bag with bread and vegetables.
ELLA
Thank you very much Sergeant, we
all appreciate your generosity.
Officer Shultz looks down at Klarisa specifically her arms.
OFFICER SHULTZ
This young girl, is she related to
you?
ELLA
She is not related to me she
shouldn’t be in here!
OFFICER SHULTZ
Nichtjude?
Officer Shultz changes his demeanor.
OFFICER SHULTZ (CONT’D)
(Raising his voice)
Attention ! Attention Ladies! The
camp has had an outbreak of
disease.
(MORE)
20.
OFFICER SHULTZ (CONT’D)
Tomorrow morning you ladies are
scheduled to take a hygienic shower
this is for everyone’s safety.
Officer Shultz turns and marches out the door.
EXT. AUSCHWITZ EXTERMINATION CAMP OVENS. DAY
Ashot is bent over using a metal screen to sift through the
ashes from one of the ovens. A few moments go by and he is
able to extract a couple of gold fillings. He looks up to see
Shultz from the distance waving him over. Ashot thinking he
might have news of his daughter, quickly drops the screen and
runs over.
ASHOT
Hello Commandant Shultz, did you
find my daughter?
OFFICER SHULTZ
No, not yet but I will be going to
visit the other barracks at
stations two and three in the next
couple of days.
Ashot pulls out his black gold bag and hands it to Shultz.
ASHOT
Thank you, Commandant. I will be
waiting for the good news!
Officer Shultz pulls out a pack of cigarettes and offers one
up.
OFFICER SHULTZ
Go ahead Golden Boy, take one for
later.
Ashot reaches out and takes one placing it in his pocket.
ASHOT
Thank you, Commandant!
Ashot turns and heads back to the pile of ashes and begins
sifting for gold.
21.
EXT. AUSCHWITZ CONCENTRATION CAMP WOMEN’S BARRACKS. DAY
Officer Shultz and FOUR SOLDIERS march through the snow and
mud towards the women barracks. The Four Soldiers enter
abruptly.
INT. AUSCHWITZ CONCENTRATION CAMP WOMEN’S BARRACKS: DAY
The Soldiers stand at strategic spots inside the barracks.
Officer Shultz enters.
OFFICER SHULTZ
Attention! Attention ladies! Its
time to go everybody line up in the
center isle.
The woman start to gather in the center isle. Officer Shultz
walks over to Klarisa and Ella he waves one of his Soldiers
to his side. Shultz leans over and whispers into the
Soldier’s ear. Ella begins to move with the others Klarisa
grips her skirt to follow along. The soldier leans in and
stops Klarisa.
SOLDIER
You have to stay here!
Klarisa starts to cry, she grips Ella’s skirt tighter.
ELLA
It’s alright sweetie I’ll take a
shower and I will come right back.
KLARISA
But why can’t I take a shower too?
The soldier's temper flares, and with a harsh, unthinking
cruelty, he lashes out at Klarisa, his boot connecting with
her small frame and sending her tumbling away from Ella. The
sudden violence of the act causes Klarisa to fall back hard,
her head striking the ground with a chilling thud. Without a
moment's hesitation or a flicker of remorse, he then turns
his attention to Ella, giving her a forceful shove that
propels her into the line, separating the two with an
indifference that speaks of the heartlessness that pervades
this place.
SOLDIER
Schnell!
22.
Klarisa sobs as she watches the room empty out.
FADE TO BLACK.
Genres:
["Historical Drama","War","Holocaust"]
Ratings
Scene
8 -
Reunion in the Ashes
EXT. AUSCHWITZ EXTERMINATION CAMP GAS CHAMBER. DAY
Gray-uniformed overseers watch intently as Ashot and four
others are forced to remove bodies from the gas chamber.
Amidst the heart-wrenching task, Ashot and another worker
carry the lifeless form of Ella. Her serene features,
preserved in death, haunt Ashot; her beauty, now lost to the
world, overwhelms him. Tears blur his vision as he carefully
places her on the cart.
Overcome with grief, Ashot's resolve crumbles. He steps back
from the cart, his legs failing him as he collapses to his
knees, surrendering to his sorrow. His breakdown does not go
unnoticed. An armed German soldier spots him, his face
hardening as he advances toward Ashot with his rifle aimed,
ready to enforce order through fear and brutality.
SOLDIER
Hey you! Get back to work.
Ashot does not respond. The soldier places the rifle to his
head.
SOLDIER (CONT’D)
I said back to work!
Ashot stares back stoic. The soldier cocks his rifle. From
the distance Officer Shultz yells out.
OFFICER SHULTZ
Halt!
The soldier backs off. Officer Shultz sends another soldier
in to escort Ashot back to the ash pile to continue sifting
for gold.
CUT TO:
INT. AUSCHWITZ CONCENTRATION CAMP WOMEN’S BARRACKS. DAY
Hours stretch into an eternity, leaving the barracks
enveloped in a haunting silence, abandoned but for the lone
figure of Klarisa.
23.
She sits beside an old wood-burning stove, its fire
flickering weakly, the last vestiges of warmth threatening to
succumb to the cold embrace of the surrounding air. The quiet
around her is palpable, filled with the echoes of those who
once filled this space, now departed.
Gathering her resolve like a cloak around her, Klarisa rises.
Each movement is deliberate, a small act of defiance against
the despair that seeks to claim her. She moves towards the
doorway, driven by a need to breach the confines of her
isolation, to peer beyond the walls that hold her.
With a cautious step, she decides to venture a look outside,
propelled by a mix of curiosity and the human need for
connection, however faint or fleeting it may be. The door, a
threshold between the known and the unknown, awaits her
decision, standing as both barrier and gateway to the world
beyond the dying embers of the stove.
CUT TO:
EXT. AUSCHWITZ CONCENTRATION CAMP WOMEN’S BARRACKS. DAY
Klarisa looks down the isle of barbed wire fencing and sees
black smoke bellowing from the ovens on a backdrop of blood
red skies. Klarisa holds up her rag doll and begins talking
to it.
KLARISA
Alright Lucy, let’s see if we can
find Papa?
She makes her way down the row of barbed wire and naively
passes by the sleeping guard. Entering the restricted area
she can now see the gas chamber and ovens. Ashot is bent over
sifting through the ashes using a wire screen. Klarisa looks
at Ashot but doesn't recognize him because of the
handkerchief covering his face. Ashot stands up and removes
the handkerchief.
KLARISA (CONT’D)
Papa! Papa!
As Ashot labors amidst the grim surroundings, his gaze
inadvertently sweeps across the barren expanse, only to be
caught and frozen by a sight he scarcely believes. There, in
the distance, stands Klarisa, her presence amidst the
desolation striking a chord of disbelief within him. For a
moment, time stands still, the harsh reality of their
environment blurring at the edges as hope, fragile and
fleeting, pierces through the veil of despair.
24.
Without a second thought, Ashot's responsibilities, the heavy
burden he carries, fall away from him, abandoned as he breaks
into a run. Every step carries him closer to Klarisa, driven
by a mix of urgency and disbelief, his heart racing with the
possibility of reunion. In this moment, the harshness of
their world is momentarily eclipsed by the human need to
connect, to confirm that what he sees is real, that amidst
the horror, there can still be moments of unexpected grace.
SOLDIER
Now where is he going? Hey! Come
back here!
Officer Shultz looks over and sees their reunion.
Ashot joyously yells out to Shultz.
ASHOT
Commandant, my daughter, it’s my
daughter!
Officer Shultz makes his way to where they are, he opens a
nearby gate and lets Klarisa come through. Klarisa jumps into
Ashot’s arms they kiss and hug each other ecstatically.
KLARISA
Papa! I knew you would find me!
OFFICER SHULTZ
Take her to your barracks and hide
her, no one can know, understand?
ASHOT
Yes, Commandant. Thank you!
Ashot holding Klarisa’s hand make their way back to Ashot’s
barracks.
OFFICER SHULTZ
Keep her out of sight. Tomorrow you
will go to work at our Stuttgart
camp.
FADE TO BLACK.
Genres:
["Historical Drama","War","Survival"]
Ratings
Scene
9 -
A Tinkle of Hope
EXT. TWO LANE GRAVEL ROAD TWENTY MILES OUT OF AUSCHWITZ. DAY
A two lane road separated by a row of trees and bushes. One
side of the road travels North while the other South. The
snow and mud make the road difficult to transverse.
25.
The military truck Ashot and Klarisa are in has staled and is
pulled over on the inside of the road. Ashot is working under
the hood as the soldiers watch attentively. Just on the other
side of the bushes, separating the road, are Anna and Eddie.
They are walking in the opposite direction within a group of
THIRTY WOMEN AND CHILDREN. The group is lead and flanked by
German trucks, a couple of foot soldiers keep an eye out as
they slowly march through the snow and mud. Ashot, standing
on the trucks front bumper looks through the bushes and sees
the group of women heading towards him. Thinking nothing of
it he continues working on the truck’s engine. Anna struggles
carrying Eddie and her few remaining possessions. Tied to a
sack slung over her shoulder is the tea kettle with wired
spoon. We hear it TINGLE as she maneuvers down the road.
Ashot on the other side of the bushes hears the familiar
TINGLE coming from the kettle.
ASHOT
Oh my God!
He looks through bushes and see, his Wife and Son.
ASHOT (CONT’D)
(Yelling out)
Anna! Anka!
Anna looks up and sees Ashot through the bushes standing on
the truck bumper.
ANNA
Ashot?
Ashot joyously slams the hood down and jumps to the ground .
He calls to one of the soldiers and points to the bushes.
ASHOT
My wife and son are there! Can I go
get them?
The soldier looks back puzzled.
SOLDIER
What about the truck?
ASHOT
Truck is good!
The soldier signals the truck driver to try and start it.
Ashot makes his way through the bushes. The soldier follows
pointing his rifle.
SOLDIER
Hey, where you going? Come back
here!
26.
On the other side of the bushes Ashot is hugging Anna and
kissing the baby. The soldier nearly trips as he makes his
way through the bushes, upset he points the rifle.
SOLDIER (CONT’D)
Get back to the truck!
ASHOT
Please Captain, let my family come
too!
Just as Ashot finishes the sentence we hear the GROWL of the
diesel motor come to life. Ashot smiles.
ASHOT (CONT’D)
I fixed it!
The soldier changes his demeanor and lowers his rifle.
SOLDIER
Alright hurry up!
Ashot grabs the sack off her shoulder and the kettle TINGLES
again. They both smile as they make their way back to the
truck.
CUT TO:
Genres:
["Historical Drama","War"]
Ratings
Scene
10 -
Caught in the Orchard
EXT. TWO LANE GRAVEL ROAD TWENTY MILES OUT OF AUSCHWITZ. DAY
The German Military truck plows through the snow and mud at
close to forty miles per hour down the gravel road. Inside
the rear of the truck are approximately TWENTY PEOPLE. Ashot,
Anna, Klarisa and Eddie are huddled up together in a corner
of the truck. Anna hugs and kisses Klarisa Ashot does the
same to Eddie.
KLARISA
Papa where are we going?
ASHOT
We are going to Stuttgart Germany
to work at the Damlier Benz
factory. We will be good, Germany
has all the food.
Ashot quickly pulls out the medallion and kisses it. Anna
notices what he just did, she looks back at him quizzically.
Ashot still isn’t sure about God but he gives in to Anna.
27.
ASHOT (CONT’D)
Alright, Thank God!
Anna ecstatically hugs and kisses Ashot.
FADE TO BLACK.
SUPERIMPOSED:
EIGHTEEN MONTHS LATER.
EXT. STUTTGART GERMANY LABOR CAMP BEHIND MERCEDES PLANT. DAY
ESTABLISHING SHOT: The labor camp barracks are behind the
factory flanked by fruit orchards. It’s a hot day as the
female workers toil in the fields picking fruit.
INT. LABOR CAMP BARRACKS. DAY
In the dim light of the barracks, a stark contrast to the
day's grim duties, Ashot finds solace in music. He cradles
his mandolin, the notes floating through the cramped space as
he begins to play a lively tune. The occupants of the
barracks, wearied by their harsh realities, gather around,
their faces lighting up with a rare glimpse of joy.
Anna, her voice clear and strong, steps forward to sing a
hauntingly beautiful Russian song. The melody weaves through
the room, offering a momentary escape to a gentler world.
Klarisa, who has grown and changed amid the harsh conditions,
dances spiritedly. Now healthier, her movements are full of
life. She grasps her brother Eddie's hands, spinning and
stepping in rhythm, their dance a defiant spark of life and
connection in the shadow of despair. Together, they create a
pocket of warmth and humanity, a stark reminder of resilience
in the face of relentless cruelty.
CUT TO:
EXT. LABOR CAMP BARRACKS. DAY
Camp Guard OFFICER KRAUSE brown hair and green eyes, face pot
marked with scars. He hears the MUSIC and decides to check
things out. He turns and heads toward the barracks.
28.
INT. LABOR CAMP BARRACKS. DAY
Officer Krause enters the barracks quietly and unnoticed.
From a distance he stares at Klarisa dancing and spinning
around.
FADE TO BLACK.
EXT. LABOR CAMP APPLE ORCHARD. DAY
About TWENTY WOMEN are working in the fields picking apples.
Anna, Klarisa and Klarisa’s twelve year old friend GAYANNE
are working in an area close to the barracks. Klarisa and
Gayanne are wearing beautiful Sundresses. They run around
chasing each other down the isles of trees.
ANNA
Klarisa don’t go too far!
Klarisa nods but keeps running as Gayanne follows giggling.
They come to a restricted area of the orchard. Barbed wire
separates a group of mature trees loaded with large, bright,
red apples. Klarisa and Gayanne crawl through a small break
in the barbed wire. Klarisa jumps trying to grab an apple.
With no luck she turns to climb the tree.
GAYANNE
Klarisa! I don’t think you should
do that!
Klarisa makes her way up the trunk and crawls out on one of
the branches.
KLARISA
Don’t worry Gayanne, just catch the
apples!
From a distance Officer Krause sees Klarisa on the tree.
OFFICER KRAUSE
Hey! You! Get out of there!
He runs towards the girls.
GAYANNE
Get down Klarisa, he’s coming!
Klarisa is stuck she tries to crawl backwards but almost
falls off the tree.
KLARISA
Go get my Mom, hurry!
29.
Gayanne runs away just as Officer Krause approaches. Klarisa
looks down at Officer Krause.
KLARISA (CONT’D)
I’m sorry please don’t kill me!
OFFICER KRAUSE
I’m not going to kill you. Come
down from there!
KLARISA
I can’t, I’m stuck.
Officer Krause reaches up and can almost touch her.
OFFICER KRAUSE
Don’t be afraid, slide down the
branch. I will catch you if you
fall.
In a moment fraught with tension and vulnerability, Klarisa,
in an attempt to navigate her precarious situation, shimmies
down, inadvertently finding herself in an even more
compromising position. Krause, seizing the opportunity
presented by her descent, places his hand onto her buttocks,
an unwelcome and violating touch that underscores the power
imbalance between them.
Krause's gaze, predatory and unyielding, fixates on her legs
and underwear, his attention drawn to her in a manner that
strips away her autonomy, reducing her to an object of his
leering scrutiny. This moment, charged with discomfort and
the threat of escalation, highlights the stark reality of
Klarisa's perilous circumstance, trapped not only by her
environment but by the dangerous intentions of those who
wield power over her.
CUT TO:
Genres:
["Historical Drama","War","Survival"]
Ratings
Scene
11 -
Abuse of Power
EXT. LABOR CAMP APPLE ORCHARD. DAY
Gayanne, excited and winded, runs up to where Anna is
working.
GAYANNE
Auntie Anna, Klarisa is stuck in a
tree and a guard caught her!
Anna looks around and see’s another guard standing nearby.
30.
ANNA
Let’s wait for this guard to leave
then you show me where she is.
CUT TO:
EXT. LABOR CAMP APPLE ORCHARD. DAY
In the shadowed outskirts of the barracks, a horrific scene
unfolds. Officer Krause, abusing his power in the most vile
manner, assaults Klarisa. Once he finishes, he casually pulls
up his pants, indifferent to the human wreckage he leaves
behind. Glancing down, he notices Klarisa lying motionless
before turning away, buckling his belt as if nothing
happened.
Anna and Gayanne, who had been hiding nearby, watch in
horror, waiting breathlessly for Krause to leave. Once he
disappears from sight, they rush to Klarisa's side. Anna
kneels down, gently placing her hands on Klarisa's face,
trying to assess her condition. A dark stain marks the area
around Klarisa's crotch, a silent testament to the brutality
she has endured. The air is thick with grief and rage as Anna
and Gayanne grapple with the immediate need to help Klarisa
and the overwhelming injustice of their situation.
ANNA
Klarisa! Wake up! Mama’s here!
GAYANNE
Is she dead?
Gayanne starts to cry.
ANNA
No, she just fainted.
Anna slaps Klarisa on the cheek and she finally comes to.
KLARISA
Mama?
ANNA
Yes sweetheart, I’m here. You are
going to be alright. Gayanne, help
me.
They help Klarisa to her feet.
31.
ANNA (CONT’D)
Let’s get you home, you need to lay
down.
FADE TO BLACK.
INT. LABOR CAMP BARRACKS. DUSK
DOCTOR GABRALIAN late forties heavy set with bushy eyebrows,
he examines Klarisa’s genitalia while Anna watches
attentively.
DOCTOR GABRALIAN
Her hymen was torn the reason for
the bleeding. But everything else
looks alright. It will be sore for
awhile so keep her off her feet a
few days.
Anna covers Klarisa with a blanket and places the rag doll
next to her. Klarisa takes the doll and hugs it.
ANNA
Take a nap sweetie.
Anna and the Doctor step back away from the bed.
ANNA (CONT’D)
Doctor Gabralian please keep this
between us.
DOCTOR GABRALIAN
Absolutely!
ANNA
My husband knows nothing about this
I’m afraid he’ll kill that son of a
bitch Krause.
DOCTOR GABRALIAN
Don't worry it will be our secret.
ANNA
Thank you Doctor for all your help!
CUT TO:
32.
INT. DAIMLER BENZ FACTORY. NIGHT
The factory assembly line is buzzing with activity, hundreds
of workers labor on machines, others struggle to keep up pace
on the fast moving assembly lines. ARMED SOLDIERS are
stationed throughout the factory keeping a watchful eye.
Ashot perspiring works stretching leather onto a row of
aircraft seats. Across the way is SIMON short, balding, good
natured. He’s wearing a stripped uniform with a Star of David
sewed onto his sleeve. Simon struggles to get his stamping
machine to work. OFFICER VOGEL, mid forties, looks like a
rat, he notices the stop in work flow and approaches the
worker.
OFFICER VOGEL
What’s the problem?
SIMON
The machine isn’t working I press
the pedal, nothing happens!
OFFICER VOGEL
You stupid Jew!
The soldier grabs Simon by his arm and places his hand into
the press. Holding his arm firmly in place, the soldier
places his foot on the pedal.
OFFICER VOGEL (CONT’D)
You sure it doesn't work?
Simon is terrified. Ashot watching, hurries over.
ASHOT
Please Captain I can fix it!
The soldier locks eyes with Ashot, his expression cold and
detached, before pressing the pedal. The machine stutters
momentarily, then with a jarring force, its piston descends,
brutally crushing Simon's hand. A scream pierces the air,
mingling with the sudden wail of air raid sirens. Instantly,
the clamor of the factory ceases; workers freeze, their gazes
lift in a silent, collective dread, waiting to see if bombs
will follow.
Officer Vogel, previously angry, now shows visible signs of
fear. Amidst the chaos and the growing panic, Ashot ignores
the sirens and moves swiftly to Simon's side. He wraps the
mangled hand with a rag, his actions quick and focused. As
tension mounts, the lights at one end of the factory flicker
and die, plunging the space into darkness in a cascading,
domino-like effect.
CUT TO:
33.
Genres:
["Drama","Historical","War"]
Ratings
Scene
12 -
The Skillet and the Assault
EXT. ARIEL SHOT DAIMLER BENZ FACTORY. NIGHT
The last few lights go out placing the whole facility in
darkness.
FADE OUT.
EXT. LABOR CAMP BARRACKS. DAY
It’s five a.m. The sun is just about to rise. The guards are
ushering about thirty women and children out of the barracks
and to the apple orchards. As they leave, other guards are
walking the men back from the factory night shift. Anna,
Klarisa and Eddie are accompanied by Gayanne and her Mother
ERIN, dark hair, brown eyes, Armenian descent. They wave to
Ashot as they make their way to the orchards. Ashot smiles
and waves back as he enters the barracks.
CUT TO:
INT. LABOR CAMP BARRACKS. DAY
Exhausted, Ashot sits on the edge of his bunk, slowly
removing his shoes. Across the barracks, in the section
designated for Jewish prisoners, he spots Simon. Despite his
bandaged hand, Simon manages a wave with his uninjured hand.
Ashot returns the gesture, a small moment of camaraderie in
their harsh reality.
Suddenly, the quiet is disrupted as Officer Vogel storms in,
catching another guard asleep on duty. Ashot watches as Vogel
delivers a sharp slap to the sleeping guard's face before
forcefully escorting him out of the barracks. The swift and
stern action serves as a stark reminder of the oppressive
environment they endure.
After the disturbance, Ashot settles back onto his bunk. The
weight of the day's events, coupled with the constant strain
of survival, pulls him into a deep sleep, his body succumbing
to sheer exhaustion.
FADE TO BLACK.
EXT. LABOR CAMP APPLE ORCHARD. DAY
The sun is about to set Anna and Erin are placing their apple
baskets onto a cart. The soldiers are now rounding up the
women to head back to the barracks. Officer Krause approaches
Anna and Erin. Klarisa stares at him terrified.
34.
OFFICER KRAUSE
Alright ladies time to go.
Anna takes Eddie by the hand, they all turn to leave when
Officer Krause steps in and stops Anna.
OFFICER KRAUSE (CONT’D)
You wait here.
Anna hands Eddie off to Erin. Klarisa and Gayanne are
terrified.
KLARISA
(In Russian)
Mama, don’t go with him, he will
kill you!
ANNA
(In Russian)
He will kill me if I don’t. Go with
Erin and Gayanne I will be alright,
don’t worry. Go now!
Erin leads the children back to the barracks.
OFFICER KRAUSE
Please come with me.
Officer Krause leads Anna to an abandon barn set on a small
hill about fifty yards away.
INT. LABOR CAMP APPLE ORCHARD BARN. DAY
Krause partially closes the barn door behind them. He starts
to unbuckle his belt.
EXT. LABOR CAMP BARRACKS. DAY
Erin and the children are entering the barracks when Klarisa
turns and quickly heads back to the barn.
ERIN
Klarisa come back here!
Klarisa, with a heart pounding in her chest, approaches the
barn, the epicenter of her growing dread. She peers through
the partially open door, the gap offering her a window into a
scene of struggle and desperation. Inside, Officer Krause, a
figure of authority corrupted by power, is engaged in a
violent tussle with Anna, trying to overpower her with
brutish force.
35.
Mounted atop her, he delivers a harsh slap, an attempt to
beat her into submission, a display of dominance and cruelty
that chills the blood.
In this moment of terror and defiance, Klarisa's eyes catch
the glint of salvation—an old, rusted iron skillet, discarded
and almost forgotten, lying on the barn floor. It's an
unassuming weapon, but in her hands, it becomes an instrument
of retribution and desperation.
As Krause, consumed by his vile intent, positions himself for
penetration, a critical threshold is crossed. Driven by a
surge of adrenaline and protective fury, Klarisa springs into
action. She dashes forward, seizing the skillet with both
hands, its weight a tangible promise of vengeance. With a cry
that marries fear with resolve, she swings the skillet with
all her might, targeting the back of Krause's head.
The impact is thunderous, a sound that echoes through the
barn like a verdict. Officer Krause’s body, once a vessel of
violence, goes limp, a sudden stillness overtaking him as he
collapses under the force of Klarisa's desperate blow. In
that instant, the dynamics of predator and prey are reversed,
and Klarisa stands over him, both savior and avenger, her
breath heavy with the weight of what she has done.
KLARISA
Mama are you alive?
Anna pushes the unconscious Krause off of her, she rolls over
and gets on her feet.
ANNA
Klarisa what did you do? I think
you killed him.
KLARISA
I’m sorry Mama, I thought he was
killing you!
Klarisa starts to cry.
ANNA
Oh my God! What are we going to do?
Klarisa starts to cry louder.
ANNA (CONT’D)
Stop crying let me think!
Anna dusts herself off she leans over and grabs Krause’s
wrist feeling for a pulse. A moment passes, she picks up the
skillet and grabs Klarisa by the hand.
36.
ANNA (CONT’D)
Lets go, I know what to do!
CUT TO:
Genres:
["Drama","Historical Fiction","War"]
Ratings
Scene
13 -
A New Life, A New Name
INT. LABOR CAMP BARRACKS. NIGHT
Klarisa sits in a wooden chair near her bunk bed. Anna has
dressed Klarisa in boy’s clothing, using scissors she makes
the final adjustment to Klarisa’s new boy haircut.
ANNA
What’s your name?
KLARISA
Klarisa.
ANNA
No!! You have to get it right, your
name is Harout!
KLARISA
Please Mama not Harout. What about
Michael?
ANNA
Alright Michael is good, just don’t
forget if a guard wants to know
your name say Michael! You
understand?
KLARISA
Yes Mama, I understand. My name is
Michael.
Anna combs her hair and raises a broken piece of mirror for
Klarisa to see herself. Klarisa looks at herself and begins
to tear up. Anna smiles trying to hold back her laughter.
Klarisa turns and looks at Anna who can’t hold it anymore.
ANNA
(Laughing)
Don’t worry, it will grow back. You
make a very cute boy!
Klarisa smiles and they both start to giggle. Klarisa
suddenly stops laughing.
KLARISA
Mama, I’m scared what if he’s not
dead? He’s going to come and kill
me.
37.
ANNA
Don’t be scared sweetie he doesn't
know you did it. I just hope no one
saw you go into the barn.
KLARISA
If I killed him, am I going to
hell?
ANNA
Absolutely not! Officer Krause was
a very bad man and you saved my
life. You did good, sweetie I love
you so much.
Anna in gratitude hugs and kisses Klarisa with all her being.
ANNA (CONT’D)
Tomorrow morning I start work in
the factory. You stay with the baby
and let Papa sleep. I will explain
to him what happened, If he asks
you what happened, tell him Officer
Krause was going to kill me so you
hit him on the head with the pan.
Do you understand?
KLARISA
Yes, Mama, I understand.
Eddie, sleeping in the bunk next to them, wakes up and looks
over to them. He stares at Klarisa very confused. Anna walks
over and helps Eddie out of bed. He waddles over to Klarisa
checking her out.
ANNA
Eddie this is your new brother
Michael!
Eddie reaches out asking Klarisa to take him in her arms.
Klarisa smiling picks him up hugging and kissing him.
CUT TO:
Genres:
["Historical Drama","War"]
Ratings
Scene
14 -
The Contrasting Faces of War
INT. DAIMLER BENZ FACTORY .DAY
The upholstery division of the factory. Dozens of women labor
at sewing machines and cutting tables. Anna operates an old
fashion, foot powered sewing machine.
38.
She lines up a stitch for a tattered and torn parachute. She
pumps the machine and sews up the tear. Just as she cuts the
thread, the air raid sirens start to WAIL. Again, the factory
goes silent, the women look up waiting to hear planes coming
or bombs falling. A few moments pass, nothing happens and the
sirens go silent. Guards come around and order the women back
to work.
CUT TO:
EXT. STUTTGART GERMANY DOWNTOWN. DAY
A battalion of THREE HUNDRED AMERICAN SOLDIERS infiltrate a
city block of downtown Stuttgart. German soldiers are held up
in various buildings throughout the street. American tanks
roll up and begin to fire on a building across the way.
LIEUTENANT COLONEL GUARDHOUSE New York Irish, red faced, no
nonsense guy. Next to him is CAPTAIN RAMIREZ born in ELA,
tough as nails.
LIEUTENANT GUARDHOUSE
Take Company B and surround the
back of that building, let’s see if
we can flush those Nazi bastards
out.
CAPTAIN RAMERIZ
Yes sir, Colonel I’m on it!
Captain Ramirez takes about TEN SOLDIERS and heads towards
the rear of the building. The Germans open fire with machine
guns hitting a couple of American soldiers as they all
scatter and head for cover.
Lieutenant Guardhouse ducks behind a tank.
LIEUTENANT GUARDHOUSE
(Yells to Ramirez)
Stay where you’re at, I’m calling
in artillery!
He gets on his radio to call in artillery support.
Alpha rover to fox trot three over!
ARTILLERYMAN VO.
Go for fox trot three.
LIEUTENANT GUARDHOUSE
Grid ES 923 945, fire for effect!
Over
39.
ARTILLERYMAN VO.
Grid ES 923 945 firing for effect!
A barrage of shells hit the building blowing it to
smithereens and silencing the German machine gun fire.
Quartermaster GEORGE MARDIKIAN, mid-forties, handsome and
formidable, approaches Lieutenant Guardhouse.
LIEUTENANT GUARDHOUSE
Hello George!
GEORGE MARDIKIAN
(Saluting)
Colonel Guardhouse sir! My men have
set up a mess tent behind a
building about a hundred yards
back.
LIEUTENANT GUARDHOUSE
Very good George Thank you we
appreciate your help.
George Mardikian turns and heads back to the mess tent. About
fifty feet from the tent he notices a very young shell
shocked AMERICAN SOLDIER sitting on the edge of a log with
his helmet removed. George approaches him, lifts him on his
feet from under his arm.
GEORGE MARDIKIAN
Come with me son.
George walks him over to the mess tent where approximately
ten chefs cook feverishly creating homemade meals for over
three hundred soldiers. He walks the young soldier to an open
spot at the table and orders a server to bring a meal. The
SERVER brings a turkey dinner with all the fixings. The young
mans eyes light up as he digs in voraciously.
CUT TO:
Genres:
["War","Drama"]
Ratings
Scene
15 -
Air Raid at the Camp
INT. LABOR CAMP BARRACKS. DAY
Ashot is fast asleep snoring in his bunk. Klarisa and Eddie
sit on the floor playing with some broken toys Klarisa has
her rag doll sitting with them as they play. Gayanne walks
down the barrack isle and approaches Klarisa.
GAYANNE
You look funny dressed as a boy.
Klarisa is not amused.
40.
GAYANNE (CONT’D)
My Mom said we could play outside
as long as we stay close by.
Klarisa turns and looks at Ashot who’s snoring away.
KLARISA
I guess it would be alright.
Klarisa grabs Eddie’s hand and follows Gayanne outside.
EXT. LABOR CAMP BARRACKS. DAY
A barren field in front of the barracks. Gayanne, Klarisa and
Eddie play kickball in a circle with THREE OTHER CHILDREN.
Klarisa kicks the ball to Eddie who picks it up and runs away
with it.
KLARISA
No Eddie! Kick it back.
From the distance we hear the DRONE of a squadron of
Luftwaffe fighter planes. They approach quickly flying very
low. Little Eddie drops the ball as he looks up to the planes
flying overhead. The air raid sirens go off and start to
WAIL. From a distance we see soldiers begin to usher the
workers out of the factory and into nearby bomb shelters.
Erin comes out of the barracks and leads the children into an
underground bomb shelter fifty yards from the barracks.
ERIN
Come on children, let’s go, hurry
up!
EXT. DAIMLER BENZ FACTORY. NIGHT
Anna and about thirty women laborers are lead out of the
factory to a nearby bomb shelter. Anna and a few other women
break off from the group and head for the barracks.
GUARD
Where are you going?
ANNA
To our children!
Anna from a distance sees Erin and the children enter the
Bomb shelter, she breaks into a sprint towards them.
41.
INT. BOMB SHELTER. DAY
The bomb shelter is a hole dug into the side of a hill it is
approximately eight feet deep, fifteen feet wide by thirty
feet long. Anna enters and approaches Erin and the children.
Eddie runs up and hugs her scared by all the commotion. Anna
looks over to Klarisa. From overhead we hear the ROAR of a
squadron of B-52 bombers approaching.
ANNA
Where is your father?
KLARISA
He’s still inside Mama!
In the distance, we hear the WHISTLE of bombs dropping from
the sky.
EXT. BOMB SHELTER. DAY
Anna sprints back to the barracks and enters through the main
entrance of the barracks.
INT. LABOR CAMP BARRACKS. DAY
Anna enters the barracks winded from sprinting, Ashot lies on
the bunk fast asleep.
ANNA
Ashot wake up!
She leans over and gives him a quick shake , Ashot springs up
in panic.
ASHOT
What? What happened?
A bomb falls and explodes near the barrack window. Ashot
awake now realizes what’s happening, he grabs Anna’s hand and
leads her out of the building.
CUT TO:
EXT. LABOR CAMP BARRACKS. DAY
A bomb has exploded destroying a section of the factory and
setting everything ablaze. Ashot and Anna exit the barracks
and run towards the bomb shelter.
42.
Just as they exit a bomb falls through the center of the
barrack building and explodes. Ashot turns to see a fire
burning inside the building, he turns around and heads back
into the burning structure.
ANNA
Ashot! Where are you going? Come
back here!
ASHOT
There are people still in there!
Ashot sprints back and enters the burning barracks.
Genres:
["Drama","War"]
Ratings
Scene
16 -
Tragedy in the Flames
INT. LABOR CAMP BARRACKS. DAY
The building is a scene of chaos, its center engulfed in
towering flames after a bomb blast tore through the roof,
leaving a gaping hole. Flames consume one of the few
remaining support beams, threatening the integrity of the
structure. Amid the destruction, Ashot bravely enters the
building. He looks down the center aisle and spots Simon, who
is desperately crawling forward using his elbows to propel
himself across the floor.
Through the thick, swirling smoke, Simon glances up and
catches sight of Ashot. Their eyes meet in a moment of shared
urgency, a silent communication amidst the roar of fire and
the imminent danger surrounding them.
SIMON
Ashot!
Navigating through the hellish inferno, with burning wood
crackling and parts of the roof intermittently collapsing
around him, Ashot makes his way to Simon. He swiftly helps
him to his feet and, realizing Simon's inability to walk,
hoists him onto his shoulder. Together, they maneuver through
the chaos toward the exit.
Just as they reach the door, shouts for help echo from the
back corner of the building, piercing through the noise of
the blaze. Ashot sets Simon down safely outside the barracks
and, without a moment's hesitation, turns back to re-enter
the perilous, collapsing structure.
Inside, he finds Officer Vogel, the man who had imposed fear
on many, now helpless and pinned under a heavy wooden beam.
The tables have turned dramatically, with Vogel trapped
amidst the very chaos he once controlled.
OFFICER VOGEL
Help! Help, me please! I’m trapped!
43.
Ashot tries to approach Officer Vogel but is stopped by a
falling wood beam. Officer Vogel is now surrounded by flames.
Ashot steps back.
OFFICER VOGAL
Please don’t leave! Help me please!
As Ashot assesses the situation, the main roof beam, fully
engulfed in flames, suddenly snaps. It crashes down directly
onto Vogel, crushing him beneath its fiery weight. The
finality of the moment is stark and immediate, leaving no
room for intervention.
Realizing the perilous instability of the building and the
inevitability of its collapse, Ashot quickly turns back
toward the exit. As he runs down the aisle, dodging debris
and leaping over obstacles, he spots his sack with the tea
kettle attached. With practiced haste, he grabs it, clutching
the familiar items that have become essential for his
survival.
Genres:
["Drama","War"]
Ratings
Scene
17 -
Escape from the Ruins
EXT. LABOR CAMP BARRACKS. DAY
Ashot comes barrelling out of the building just as the
structure implodes . He runs through the field heading for
the bomb shelter. Bombs explode on each side of him as he
jumps feet first into the entrance of the shelter.
CUT TO:
INT. BOMB SHELTER. DAY
Ashot lands on his feet still holding on to the sack and
kettle. Anna takes the sack out of his hand and hugs him.
ANNA
Are you alright?
ASHOT
I think so?
Ashot looks around the bomb shelter.
ASHOT (CONT’D)
Where are the guards?
KLARISA
They left! I saw them change their
clothes.
44.
Klarisa turns and points to the German uniforms piled up in
the corner.
ASHOT
God Damn cowards! This means the
Russians are here. We better go I
don’t want anything to do with
those communist bastards.
CUT TO:
EXT. BOMB SHELTER. DAY
Klarisa and Ashot have exited the shelter. From inside the
shelter, Anna hands the baby to Ashot then climbs out onto
the field. The factory has been hit with about a half dozen
bombs. It burns in the background as Ashot and his family
make their way to the main road.
FADE TO BLACK.
EXT. STUTTGART GERMANY DOWNTOWN. NIGHT
The scene opens with a haunting aerial shot, gliding down the
center of a war-ravaged street. The aftermath of conflict is
palpable, with buildings still smoldering on either side. In
the eerie light, burning street lamps line the road, casting
an unsettling glow reminiscent of an airport runway.
Descending to street level, the camera reveals Ashot and his
family, tightly huddled together, navigating through this
desolate landscape. Their somber expressions reflect the
horrors they have endured and the uncertain future they face.
Nearby, an elderly Russian soldier, his face marked by the
loss of an eye, busies himself with a grim task. He wraps a
tattered Nazi flag around a stick, dips it into a vat of
gasoline, and ignites it, creating a makeshift torch. With a
resolute turn, he approaches a Nazi commander, already
hanging by his neck from a lamp post. The soldier thrusts the
flaming torch under the gasoline-soaked boots of the hanging
figure, which immediately erupts into a fierce ball of
flames.
Down the street, the ghastly sight continues—a row of German
soldiers, each hanging by the neck, each engulfed in flames
from the burning lamps.
45.
As Ashot and Anna pass by this grim display, they shield
their children's eyes, hurrying past the burning corpses,
eager to leave behind the remnants of brutal retribution and
continue their journey towards whatever semblance of peace
might still be possible.
CUT TO:
Genres:
["Drama","War","Historical"]
Ratings
Scene
18 -
A Moment of Hope, Shattered by Violence
EXT. OUTSKIRTS OF STUTTGART GERMANY. NIGHT
Ashot and family are a few miles out of the city limits .
Most of the houses along the road have been destroyed or have
been abandoned by their occupants. Exhausted from walking all
day Ashot stops in front of an abandoned farmhouse.
KLARISA
Papa I’m hungry!
ASHOT
I know sweetie. I’ll find us some
food.
Ashot looks over to the farmhouse and then back to Anna
ASHOT (CONT’D)
This is a good place to get some
rest. I’m going to go take a look,
wait here.
Ashot runs to the back of the farmhouse. He notices a
kerosene lamp placed on the ground near the door. He lights
the lamp and enters through the back door.
CUT TO:
INT. ABANDONED FARM HOUSE. NIGHT
The house has been ransacked, furniture toppled over, cabinet
doors left open. Ashot clears a path to the front door he
opens the door and waves Anna and the children to come in.
Anna, Klarisa and Eddie enter the house.
ASHOT
I’m going to check the kitchen for
some food.
Ashot enters the kitchen and begins checking the cabinets, he
finds all of them are bare. He opens the pantry door to find
more of the same. Frustrated he sets the kerosene lamp on the
floor and falls to his hands and knees.
46.
His medallion hangs out of his shirt he grabs it and secures
it back under his t-shirt. Looking down at the pantry floor
he notices a gap in the wood floor. Pressing on a corner of
the pantry floor a wood plank raises up exposing a secret
compartment filled with canned food. He pulls out a couple of
cans of beans.
ASHOT (CONT’D)
Anna come here I found some food.
Anna enters the kitchen with the children.
ANNA
Oh my God! Thank you Jesus!
Ashot looks around the kitchen and finds a wood burning
stove.
ASHOT
I’ll get some wood.
Anna finds a candle and lights it.
ANNA
I’ll see if I can find a pot or
something.
EXPLOSIONS and GUNFIRE can be heard outside near the house.
Ashot turns off the kerosene lamp and Anna quickly blows out
the candle.
ASHOT
(whispering)
No one make a sound!
FADE TO BLACK:
FADE IN:
Genres:
["Drama","Historical Fiction","War"]
Ratings
Scene
19 -
A Moment of Grace
INT. ABANDONED FARM HOUSE. NIGHT
Ashot and Anna have brought the kitchen to a somewhat better
condition. The wood stove is now burning at full force. The
children are laid out on blankets sleeping on the kitchen
floor. Anna pours a cup a tea with her kettle.
ANNA
Where are we going to go? The food
will run out in a couple of days.
47.
ASHOT
We have to find out where the
Armenians are?
ANNA
How are we going to do that?
ASHOT
I saw an American jeep, tomorrow we
ask the American soldiers. They
will know where they are.
ANNA
I hope you’re right!
CUT TO:
EXT. OUTSKIRTS OF STUTTGART GERMANY. MORNING
Ashot, Anna and children are walking on the side of a gravel
road. It’s a rural area with a few farms spread out
throughout the locality. It is very quiet, all that’s heard
is the sound of their shoes CRUNCHING the gravel as they
walk. Ashot hearing something suddenly stops.
ASHOT
Be quiet do you hear that?
ANNA
I don’t hear anything!
ASHOT
Shush!
From the distance, we faintly hear the SQUEAKS and RUMBLE of
tank tracks traveling on the road.
ASHOT (CONT’D)
Tanks are coming! We have to hide
if it’s the Russians they will send
us to Siberia!
Ashot leads his family towards the nearest farm house.
Approaching the rear of the house he looks for a storage
cellar to hide in. He sees some large bushes between the
house and the barn. Hidden between the bushes is a wooden
trap door. He lifts the wooden door exposing a set of wooden
steps leading to the storage cellar. Ashot leans in to take a
look inside.
ASHOT (CONT’D)
Hello anyone in there?
48.
Ashot hears some RUSTLING down from inside the cellar.
ASHOT (CONT’D)
I can hear you! Come out with your
hands up!
Ashot hears the VOICE of a YOUNG GERMAN SOLDIER.
YOUNG GERMAN SOLDIER
Please don’t shoot, I’m unarmed!
We see the blonde, blue eyed teenager as he emerges from the
darkness of the cellar.
ASHOT
It’s alright, I’m not going to hurt
you. Come out of there!
The young soldier climbs out into the daylight wearing
oversized civilian clothing.
ASHOT (CONT’D)
What’s your name?
YOUNG GERMAN SOLDIER
Ludwig.
ASHOT
My name is Ashot.
Ludwig extends his hand. Ashot firmly shakes hands.
LUDWIG
Nice to meet you.
ASHOT
I’m going to need your help Ludwig,
the Russians will be here in a few
minutes and if I could find you I’m
sure they will too.
LUDWIG
What do you want me to do?
ASHOT
See that big bush over there, pull
it out and bring it over here.
Ashot waves Anna and the children to come over to the cellar.
As they approach, Anna pulls out a candle from her bag and
lights it as she enters the cellar.
49.
ASHOT (CONT’D)
Anna see if you can find some rope
or twine.
Ludwig comes back with the bush. Anna climbs the steps out of
the cellar and hands Ashot a piece of rope. Ashot quickly
ties the rope around the roots of the bush. He places the end
of the rope through a hole in the wooden cellar door. He
hears the VOICES of the Russian soldiers as they approach.
ASHOT (CONT’D)
Hurry up get inside be very quiet!
RUSSIAN SOLDIER #1 Exits the rear door of the house
brandishing his rifle while RUSSIAN SOLDIERS #2 and #3
approach from around the side of the house.
RUSSIAN SOLDIER #1
The house is all clear!
From inside the cellar Ashot pulls the rope drawing the bush
over the cellar door and camouflaging the entrance. Russian
soldiers #1 and #2 walk right up to the bush and start to
look around.
RUSSIAN SOLDIER #2
Let’s take a look in the barn
Russian soldier #1 heads towards the barn.
CUT TO:
Genres:
["Drama","War"]
Ratings
Scene
20 -
Escape and Departure
INT. STORAGE CELLAR. DAY
A few beams of sunlight shine through cracks in the cellar
door. Eddie starts to fidget and begins to sob. Just as he
lets out a cry, Anna covers his mouth.
CUT TO:
EXT. REAR OF FARMHOUSE. DAY
RUSSIAN SOLDIER #3
Did you hear that? It sounded like
a baby.
RUSSIAN SOLDIER #2
You’re hearing things!
50.
RUSSIAN SOLDIER #3
I swear I heard a baby cry! You
didn’t hear it?
Russian Soldier #1 returns from the barn.
RUSSIAN SOLDIER #1
The barn is all clear. What’s going
on?
RUSSIAN SOLDIER #2
He thinks he heard a baby cry.
RUSSIAN SOLDIER #1
I didn’t hear anything.
RUSSIAN SOLDIER #2
Fuck the baby let’s get out of
here!
The Russian soldiers return to their battalion, we hear the
tank’s engine ROAR back to life as they continue down the
road.
CUT TO:
INT. STORAGE CELLAR. DAY
Inside the cellar Ashot has his finger to his mouth shushing
the Baby. Eddie stares back confused but conforming. Anna
removes her hand from his mouth. Eddie takes a deep breath
and remains quiet. Ashot waits a few moments as the sound of
TANK TRACKS dissipates. He pushes the cellar door open and
exits.
CUT TO:
EXT. REAR OF FARMHOUSE. DAY
Anna hands Eddie up to Ashot. They all exit the cellar.
Ludwig humbly looks down when Anna looks at him.
ASHOT
This is my wife Anna, my children
Klarisa and Eddie. This is Ludwig.
Ludwig graciously puts out his hand.
LUDWIG
Pleasure to meet you Frauen.
51.
ANNA
Nice to meet you Ludwig.
ASHOT
Ludwig you should hide here for the
next few days eventually the
Russians will leave.
Ashot takes the sack off of Anna’s shoulder, opens it and
hands Ludwig a can of beans.
ASHOT (CONT’D)
Here take this, it should last a
couple of days.
Ludwig refuses signalling with his hands.
LUDWIG
Oh no, I couldn’t, you have young
children!
Ashot tosses the can at him forcing him to catch it.
ASHOT
Take it, we have more.
LUDWIG
Thank you very much! God bless you!
ASHOT
God bless you. You’re going to need
it!
LUDWIG
Where are you going?
Ashot swings the sack over his shoulder, grabs Klarisa’s hand
and turns to leave.
ASHOT
I have to find my people.
Klarisa turns and waves goodbye as they head back to the
road. Ludwig meekly waves back.
FADE TO BLACK.
Genres:
["Drama","War"]
Ratings
Scene
21 -
A Fork in the Road and a Flash of Trauma
EXT. RURAL ROAD OUTSKIRTS OF STUTTGART GERMANY. DAY
The road is wet from the morning dew, temperatures have
dropped.
52.
Ashot, Anna and Children are bundled up and back on the road.
Little Eddie is being led by Klarisa, she holds his hand as
he struggles to keep up. They approach an intersection in the
road. One arrow points to Munich another points to Nuremberg.
ANNA
You have no idea where you are
going! Look we are almost out of
food.
Anna opens the sack and shows him the last can of food.
ANNA (CONT’D)
You have us wandering aimlessly
around the countryside.
ASHOT
Alright if you know so much you
choose which way to go.
She looks up and points to the Munich sign. Ashot smiles.
ANNA
What’s so funny?
ASHOT
You know how far it is! At least a
hundred miles
ANNA
That’s not funny!
ASHOT
We have to find the Armenians let’s
go towards Nuremberg it should be
much shorter going there?
ANNA
Alright but I still feel we should
go the other way.
FADE TO BLACK.
EXT. SMALL VILLAGE TOWN NEAR NUREMBERG GERMANY. DAY
Eddie asleep is being carried by Ashot. They are coming to
the end of the town’s main drag, they pass a general store
whose windows have been broken out and shelves emptied. About
a hundred yards away TWO MEN in their mid-thirties approach
Ashot and his Family.
53.
ASHOT
Look Anna, these guys are Armenian!
Maybe they know where to go?
Ashot approaches the two men who have the same facial
characteristics as he does. He hands the baby over to Anna.
ASHOT (CONT’D)
(In Armenian )
Are you Armenian?
The two men look back at him confused. Ashot extends his
hand.
ASHOT (CONT’D)
My name is Ashot, so you’re not
Armenian?
TURKISH MAN ONE
(Extends his hand)
No, my name is Addai and my friend
is Haluk. We are Turkish!
As their hands touch Ashot’s eyes glaze over as if in a
trance.
FLASH BACK:
INT. ONE ROOM SHELTER BUILT FROM ROCKS AND A GRASS ROOF. DAY
The room is a converted livestock shelter and has a large
wooden door. FIVE YEAR OLD ASHOT is being laid down by his
pregnant Mother, HASMEEK. She places him in a bed made of hay
and a few blankets. She turns and heads towards her Husband
HAKOB large mustache, early nineteen hundred’s clothing.
Hakob sits in the center of the room at a small table having
tea from a “copper kettle”. Suddenly the door is busted wide
open by a black horse ridden by a TURKISH HUN. Hakob stands
up as the Turk advances aiming his sword at Hakob’s chest.
The sword’s main thrust is defused by a medallion dangling
from his neck. Hakob falls to his knees and drops forward.
Ashot hiding under his blanket looks up just in time to see
his Mother stabbed in her pregnant belly by the Hun’s sword.
Ashot focuses in on the face of the Hun. The horse turns and
gallops out of the house. Hakob still alive crawls over to
his wife, lifting and holding her in his arms.
CUT TO:
54.
Genres:
["Historical Drama","War","Family"]
Ratings
Scene
22 -
The Forest of Death
EXT. SMALL VILLAGE TOWN NEAR NUREMBERG GERMANY. DAY
Ashot releases Addai’s hand as he comes back to reality. He
focuses on Addai’s face. The resemblance to the Hun is
uncanny.
ADDAI
Where are you going? You’re headed
in the wrong direction.
ASHOT
I need to find the Armenians, do
you know where they might be?
HALUK
No we don’t but you should come
with us we’ve been finding a lot of
gold!
Addai opens a leather satchel full of gold coins and jewelry.
ADDAI
Here take a couple of coins, you
might need them.
ASHOT
Oh no that’s blood gold!
Ashot disgusted by them turns and abruptly leaves, Anna and
children follow him as he continues down the road.
FADE OUT.
EXT. GRAVEL ROAD TO NUREMBERG. DAY
The weather has turned to an on and off drizzle. Ashot, Anna
and children are huddled together under a canvas tarp as they
transverse the muddy road. Approximately two hundred yards up
the road Ashot spots a battalion of Russian tanks and
soldiers pulled over to the side of the road.
ASHOT
God Damn it! Russians.
ANNA
Ashot! You don't have to curse!
ASHOT
We have to go around them. Let’s
cut through the forest.
55.
ANNA
We need to find some place to get
out of the rain.
Ashot leads them into a forest of dense foliage. After a few
minutes of maneuvering through the trees. They come near a
clearing. We hear the VOICES of Russian soldiers yelling and
commanding people. Ashot leads his family towards some
bushes.
ASHOT
Wait here. Be very quiet.
Ashot makes his way to the clearing. He hides behind some
rocks trying to get a view. TWENTY RUSSIAN SOLDIERS have at
gunpoint a group of TEN GERMAN SOLDIERS. They dig holes for
their own graves. RUSSIAN COMMANDER VLADIMIR CLACHENKO,
scar-faced with a brutal disposition. He watches as TWO SS
SOLDIERS shovel mud onto a fellow SS Captain. The few last
shovels of mud suffocate the soldier as he disappears into
his argillaceous grave. Commander Clachenko turns towards
another SS soldier.
COMMANDER CLACHENKO
(In Russian)
Get inside the hole you Nazi
asshole, son of a bitch.
The German Soldier is reluctant he hesitates. Vladimir
viciously hits him on the back of the head with the butt of
his rifle, propelling the German face first into the muddy
hole. Ashot has seen enough he turns and heads back to Anna
and his children.
ASHOT
We need to leave now.
FADE TO BLACK.
Genres:
["Drama","War"]
Ratings
Scene
23 -
A Glimpse of Hope on the Road to Funkkaserne
EXT. FOREST ADJACENT TO FARM FIELD . NIGHT
The rain comes down hard as Ashot and family exit the forest
and into a farm field. They head for a bombed out barn in the
middle of the field. Part of the barn roof is missing they
enter looking for a dry spot.
ANNA
We have very little food left.
ASHOT
Tomorrow with God’s help we will
find some food.
56.
ANNA
Oh now you’re with God?
ASHOT
I hope there is God, all I see is
the devil, no God around here!
Ashot clears a corner of the barn, Anna pulls a blanket out
of her sack spreading it out over some hay. Ashot picks up
Eddie and places him on blanket.
ASHOT (CONT’D)
You and Klarisa lay down here.
Eddie nods back in agreement. Ashot gathers some nearby hay
and wood and starts a small fire.
KLARISA
Can’t we go back to our house Mama?
ANNA
Ashot, she’s right we should go
back.
Ashot ignites the fire.
ASHOT
Never! I will die before I go back
to those Communist bastards! Go to
sleep tomorrow we will find the
Armenians. Then we have a chance to
leave this Hell behind us!
Ashot places his arms around his family as they huddle around
the small fire.
CUT TO:
EXT. GRAVEL ROAD TO NUREMBERG. DAY
The sun shines brightly, storm clouds have cleared revealing
a beautiful landscape. POLISH REFUGEES in groups of five and
six transverse the road going both ways. Ashot approaches a
blonde haired, POLISH FAMILY, HUSBAND, WIFE and THREE
CHILDREN.
57.
ASHOT
(In Russian)
Greetings!
POLISH HUSBAND
Hello!
ASHOT
By any chance do you know where the
Armenians may be?
POLISH HUSBAND
Armenians?
ASHOT
Yes, the Armenians!
POLISH HUSBAND
No, no Armenians. We saw Americans
maybe a mile up the road.
The Polish family all agree, the husband turns and points up
the road.
ASHOT
Alright! Thank you very much! Good
luck!
Ashot, Anna, Klarisa and Eddie grab each other’s hands and
continue up the road.
ASHOT (CONT’D)
Let’s find the Americans, maybe
they know where they are?
DISSOLVE TO:
EXT. OUTSKIRTS NUREMBERG PAVED ROAD. DAY
Ashot and family are yet again at a crossroads.
The signs point to HEIDALHIEM, NERESHIEM and NUREMBERG.
ANNA
So now which way?
Ashot looks down each road trying to decide. From the
distance he sees a cloud of dust.
ASHOT
We better hide. I think it’s a jeep
because it’s coming very fast.
58.
They move to a forest area about twenty yards away from the
road and hide behind some trees. Ashot watches the vehicle as
it nears them. The Jeep gets close enough to see an American
flag attached to its front hood.
ASHOT (CONT’D)
It’s alright, they're Americans!
Come on we have to stop them!
They near the road Ashot steps out into the middle of the
roadway and starts to wave them down.
INT. JEEP GRAVEL ROAD. DAY
Inside the Jeep driving is Lieutenant Guardhouse next to him
is Captain Ramirez smiling and happy the war is over.
LIEUTENANT GUARDHOUSE
What the hell is this guy doing?
CAPTAIN RAMIREZ
I don’t know but you better slow
down or you’re going to kill him!
Guardhouse downshifts and applies the brakes. The Jeep comes
to a sliding halt a few feet in front of Ashot.
LIEUTENANT GUARDHOUSE
What are you crazy? You almost got
killed!
ASHOT
I’m sorry but we need your help.
Guardhouse is upset with the distraction.
CAPTAIN RAMIREZ
How can we help you?
ASHOT
We are looking for the Armenians?
LIEUTENANT GUARDHOUSE
(Frustrated)
The Armenians.
ANNA
We are Armenians!
Ramirez nudges Guardhouse.
59.
CAPTAIN RAMERIZ
Why do you always have to be so
ornery? Sorry Mam’am for my
friend’s rudeness. We know about
the Armenians?
ASHOT
Yes the Armenians do you know where
they might be?
CAPTAIN RAMIREZ
Bill what was the name of that
military academy? We were there a
few days ago.
LIEUTENANT GUARDHOUSE
You mean the Nazi school? It had
some weird name Funka something?
CAPTAIN RAMIREZ
That’s right Funka? Funkkaserne!
That’s it! Your people are there.
But you’re going the wrong way.
Captain Ramirez pulls out a map.
CAPTAIN RAMERIZ
Let’s see we are here. Funkkaserne
is over here! Alright you have to
go back that way and you’ll see a
sign pointing to Munich it’s a
couple of miles from there.
Anna stares down Ashot.
ANNA
(Pointing)
So we have to go back that way.
CAPTAIN RAMIREZ
Yes, Mam’am! A few hours on foot
and you’ll be there!
Anna continues to stare at Ashot.
ASHOT
Thank you very much you saved our
lives.
ANNA
Yes, thank you for your help.
60.
CAPTAIN RAMERIZ
You’re very welcome! Good luck.
Guardhouse revs the engine and takes off in a cloud of dust.
ANNA
What did I tell you? You never
listen to me! You were taking us
completely in the wrong direction!
ASHOT
Alright, I was wrong .
ANNA
Say it! I was right! And you
were...
ASHOT
You were right. I was wrong.
Anna smiles.
CUT TO:
Genres:
["Drama","Historical","War"]
Ratings
Scene
24 -
Ignoring the Warning
EXT. ESTABLISHING SHOT FUNKKASERNE SS ACADEMY. DAY
Large iron gates protect the entrance to the massive facility
of buildings and training areas. A small guard shack adjacent
to the entrance is manned by PRIVATE WILSON, late twenties
brown hair ,green eyes, Southern mannered. He leaves the
guard shack and opens the gate for a Red Cross military
truck. The Truck pulls in and Private Wilson closes the gate
behind them. Red Cross DOCTOR STEVEN MILLER late forties,
salt and pepper hair exits the truck and approaches Private
Wilson.
DOCTOR MILLER
Who is in charge here?
PRIVATE WILSON
Yes Sir! That would be Lieutenant
Guardhouse.
DOCTOR MILLER
I need to speak to him immediately!
PRIVATE WILSON
Unfortunately Sir, Lieutenant
Guardhouse is on a survey at
another camp about thirty clicks
west of here.
61.
DOCTOR MILLER
Well, we need to get a hold of him,
my doctors here at the camp have
informed me there is an outbreak of
TB. We might have to evacuate a
section of the camp.
PRIVATE WILSON
Yes Sir I will radio him
immediately!
Private Wilson heads back to the guard shack and gets on the
radio.
PRIVATE WILSON (CONT’D)
Eagle one to Alpha rover, do you
copy?
EXT. GRAVEL ROAD THIRTY CLICKS WEST OF FUNKKASERNE .DAY
Guardhouse and Ramirez are pulled over putting water into the
radiator of their overheated Jeep.
LIEUTENANT GUARDHOUSE
Go for Alpha Rover over. Is that
you, Private Wilson?
PRIVATE WILSON
(Voice coming over radio)
Yes, Sir, Wilson here!
LIEUTENANT GUARDHOUSE
What is it Wilson?
PRIVATE WILSON
(Over radio)
Lieutenant Sir there is a Doctor
here from the Red Cross says there
is a TB outbreak in the camp. He
wants you to evacuate.
CUT TO:
EXT. GRAVEL ROAD THIRTY CLICKS WEST OF FUNKKASERNE .DAY
LIEUTENANT GUARDHOUSE
What? No way, there are almost
three thousand people in that camp.
Is this guy out of his mind? Do not
evacuate do absolutely nothing! Do
you understand, Wilson?
62.
PRIVATE WILSON
(Over radio)
Yes, Sir! Do not evacuate do
absolutely nothing.
LIEUTENANT GUARDHOUSE
I will be there in thirty minutes
Alpha Rover over and out!
Captain Rameriz slams the hood on the Jeep and jumps into the
driver’s seat.
CAPTAIN RAMIREZ
I’ll drive.
CUT TO:
Genres:
["Drama","War"]
Ratings
Scene
25 -
Despair and Denial
INT. FUNKKASERNE CAMP INFIRMARY. DAY
The twenty bed infirmary is full of patients with different
degrees of tuberculosis. NURSE MURIEL, mid forties, dark
Italian look, she wears a surgical mask. Nurse Muriel pulls a
white sheet over the face of a middle aged ARMENIAN WOMAN
with dark hair and chestnut eyes. Her husband, KREKOR, sits
on the edge of a bed next to her watching her die. He
clutches his dying FIVE YEAR OLD DAUGHTER tight to his chest.
The young girl’s skin has turned blue, she coughs up blood
splattering it on her father’s face. Nurse Muriel takes a few
steps over to the next bed where Krekor’s thirteen year old
son ARTUR takes his last breath. Nurse Muriel turns and looks
across the room for NURSE MARY NIXON, mid twenties, light
skin, southern belle, also dressed with a surgical mask.
NURSE MURIEL
Nurse Nixon, could you come here
and give me a hand please?
NURSE NIXON
Yes Mam’am, be right there!
Doctor Steven Miller enters the infirmary.
DOCTOR MILLER
Nurse Muriel, Nurse Nixon please
come with me.
The nurses walk over to Doctor Miller and they all exit the
infirmary.
CUT TO:
63.
EXT. GRAVEL ROAD THREE KILOMETERS FROM FUNKKASERNE. DAY
The road sign arrow points 3 kilometers to Funkkaserne.
ANNA
Thank God, we are almost there!
KLARISA
Mama, are their other kids there?
ASHOT
There are a lot of kids there! Come
on let’s go.
Klarisa takes off running.
ANNA
Klarisa come back here!
CUT TO:
INT. FUNKKASERNE CAMP INFIRMARY. DAY
Krekor has made a makeshift noose out of the bed sheets and
his leather belt. With noose tied to a sewer pipe located on
the ceiling, Krekor hangs, his neck swinging back and forth.
His daughter’s lifeless body lays on the bed next to him.
Nurse Muriel and Nurse Nixon return to the infirmary they
spot Krekor. Nurse Muriel runs over to Krekor and feels for a
pulse.
NURSE MURIEL
Oh my God! Go get help.
Nurse Nixon runs out the door.
CUT TO:
EXT. FUNKKASERNE SS ACADEMY. DAY
Private Wilson has opened the entrance’s iron gates .
Lieutenant Guardhouse and Captain Ramirez driving the Jeep,
speed dangerously into the camp barely missing the rear of
the Red Cross truck. Guardhouse jumps out and approaches
Private Wilson.
LIEUTENANT GUARDHOUSE
Where’s the Red Cross guy?
Doctor Miller exits the building and nears the two soldiers.
64.
DOCTOR MILLER
(Extends a hand.)
Lieutenant Guardhouse? Doctor
Steven Miller Red Cross.
Guardhouse is a little reluctant to shake hands but does
anyway.
LIEUTENANT GUARDHOUSE
How can I help you Doctor?
DOCTOR MILLER
We have a problem. The Doctor here
at the camp feels we have an
epidemic of TB.
LIEUTENANT GUARDHOUSE
Look Doctor Miller, there is no way
we can evacuate this camp, their
are over twenty five hundred people
in there with nowhere to go!
DOCTOR MILLER
We’ll if we don’t do something half
of them will be dead in a few
weeks.
LIEUTENANT GUARDHOUSE
Give me a few moments I need to
call my commander.
Guardhouse turns and heads for the administration building.
CUT TO:
Genres:
["Drama","War"]
Ratings
Scene
26 -
A Moment of Hope in the Face of Despair
EXT. FUNKKASERNE CAMP ENTRANCE. DAY
Ashot, Anna, Klarisa, and Eddie have arrived and near the
guard gate. Klarisa is giddy with excitement, as they near
the guard shack Klarisa can hear the SOUND of children
playing. As they walk by the entrance, Klarisa catches a
glimpse of TWENTY CHILDREN playing kickball in the center
courtyard. Private Wilson is at his post. He exits the Guard
shack and greets the family.
PRIVATE WILSON
(In Armenian)
Hello, welcome!
ASHOT
You speak Armenian?
65.
PRIVATE WILSON
No, not really, that’s all I know.
ASHOT
This is my wife Anna, my daughter
Klarisa and my son Eddie.
PRIVATE WILSON
(In Armenian)
Hello.
ANNA
Nice to meet you!
Klarisa waves enthusiastically.
KLARISA
Hi! Are you an American?
PRIVATE WILSON
Yes, Missy. I’m from North
Carolina.
ASHOT
We are Armenian refugees. We have
no place to go and our people are
inside the camp. We also would like
to stay with them here.
PRIVATE WILSON
I’m sorry but the camp is full and
there is a tuberculosis outbreak we
might have to evacuate the camp
sorry it’s for your own safety.
The family’s excitement dissipates and quickly turns to
despair. Ashot steps back in disbelief.
CUT TO:
EXT. FUNKKASERNE CAMP INSIDE ENTRANCE GATE. DAY
Doctor Miller stands near the Red Cross truck. Lieutenant
Guardhouse and EIGHT SOLDIERS escort Krekor’s dead family on
stretchers into the Red Cross truck.
LIEUTENANT GUARDHOUSE
Okay, Doctor Miller, my commander
says there is an abandoned military
warehouse about a quarter mile up
the road. He wants you to set up a
quarantine area in the warehouse.
66.
DOCTOR MILLER
What about beds or cots? I need
supplies!
LIEUTENANT GUARDHOUSE
I will personally make sure you get
what you need.
DOCTOR MILLER
The problem is we have no idea how
many are infected?
LIEUTENANT GUARDHOUSE
Look, Doctor I can’t tell you how
to do your work but this is the
best we can do for you now.
DOCTOR MILLER
Alright, we can start by
transporting the rest of the
patients in the infirmary.
LIEUTENANT GUARDHOUSE
Let me find Sergeant Lewis we’ll
get you the manpower you need.
Guardhouse turns and heads to the gate shack.
LIEUTENANT GUARDHOUSE (CONT’D)
Private Wilson!
PRIVATE WILSON
Yes Sir!
LIEUTENANT GUARDHOUSE
Get Sergeant Lewis on the radio,
tell him I need his boys to help
the Red Cross.
PRIVATE WILSON
Yes Sir, right away Lieutenant!
A work truck passes by and downshifts causing a loud
BACKFIRE. Guardhouse turns quickly investigating the source.
As the truck drives by, Guardhouse spots Ashot and his family
bundled up meekly on the corner. Guardhouse crosses the road
and approaches them.
LIEUTENANT GUARDHOUSE
Why are you out here?
Ashot’s eyes light up.
67.
ASHOT
Hello Commander! I’m so happy to
see you. We were told the camp is
full.
LIEUTENANT GUARDHOUSE
Who told you that?
ASHOT
The nice American boy at the guard
house.
LIEUTENANT GUARDHOUSE
Come with me.
Guardhouse walks back to the guard shack with Ashot and
family in tow. As they near, the Red Cross truck backs out.
LIEUTENANT GUARDHOUSE (CONT’D)
Private Wilson, help these people
check into the camp.
PRIVATE WILSON
But I thought you said the camp was
full and you couldn’t take anyone
else Sir!
The Red Cross truck grinds its gears as it drives away.
LIEUTENANT GUARDHOUSE
We have the room now. Let them in.
ASHOT
Thank you very much Commander!
Ashot looks down at Lieutenant Guardhouse’s worn-out boots,
Guardhouse notices and also looks down.
ASHOT (CONT’D)
I will make you new boots, size
eleven?
LIEUTENANT GUARDHOUSE
Eleven and a half, but that’s not
necessary! I’m leaving in a couple
of weeks.
ASHOT
No problem, that’s plenty of time!
CUT TO:
68.
Genres:
["Drama","Historical","War"]
Ratings
Scene
27 -
A New Beginning: Hope Blooms in the Funkkaserne
EXT. FUNKKASERNE SS TRAINING FACILITY. DAY
ESTABLISHING SHOT:
The quartering buildings are three stories high with Bavarian
style architectural accents. Eight large buildings previously
house up to a thousand cadets. The facility has an Assembly
hall, Cafeteria, Shooting range, Equestrian center and a
large Courtyard in the middle of it all.
INT. FUNKKASERNE CAMP SOLDIER HOUSING UNITS. DAY
Armenian female camp worker, HEPSEME, early thirties, dark
hair, green eyes, leads Ashot, Anna, Klarisa and Eddie down a
long hallway toward their new home.
KLARISA ANANIAN V.O.
Our lives in the camp got much
better. We finally got a roof over
our heads. It was a place we could
call home. We even had our own
toilet.
They enter a small eight by ten room with a toilet room and
sink. Ashot walks up to the toilet.
KLARISA
What is it Papa?
ASHOT
It’s a toilet! Look Anna we have a
toilet!
Ashot pulls the chain and the toilet loudly FLUSHES, he jumps
back startled. Anna has walked over to the window giving way
to a view of CHILDREN playing kickball in the center of the
courtyard. Klarisa runs up to the open window and sticks her
head out.
KLARISA
Mama, look at all the kids! Can I
go play?
DISSOLVE TO:
69.
EXT. FUNKKASERNE CAMP COURTYARD. DAY
Close to fifty families Men, Woman and Children fill the
courtyard , Men playing board games and cards. Woman sorting
food and clothing amongst themselves.
KLARISA ANANIAN V.O.
There were over twenty five hundred
people living in the camp. There
were reunions.
MONTAGE:
In the courtyard, Ashot approaches a wooden bench with a
GROUP OF MEN playing “Nardi” (Backgammon). Standing watching
is Ashot’s friend, Armen. Armen turns and sees Ashot.
ARMEN
Ashot? Oh my God, it’s really you!
Armen reaches out grabbing and hugging Ashot with all his
might.
DISSOLVE TO:
On the courtyard field, Klarisa and her friend Gayanne
recognize each other. They run and jump into each other’s
arms.
KLARISA ANANIAN V.O.
New friends were made, we were
happy again!
DISSOLVE TO:
In the courtyard, Anna greets Erin, they hug and kiss.
ERIN
Come with me, I want to introduce
you to the girls.
Erin takes Anna by the hand and leads her to a wooden table
surrounded by Armenian Women. The all smile and joke around
as they are introduced to a very happy Anna.
KLARISA ANANIAN V.O.
We all had to work but it was for
ourselves. The men made furniture
and shoes. The women sewed clothes
and worked in the fields growing
fruits and vegetables. We weren't
hungry anymore!
MONTAGE:
70.
Genres:
["Drama","Historical","War"]
Ratings
Scene
28 -
Life in the Funkkaserne Camp: Resilience Amidst Hardship
INT. FUNKKASERNE CAMP CONVERTED ARMORY. DAY
The Armory has been converted to a small factory on one side
MEN cut and stretch leather while others sew and stitch them
into shoes. On the other side men cut wood and fabricate
tables chairs and other furniture pieces. Ashot works on a
shoe horse stretching and forming the leather into a boot.
DISSOLVE TO:
INT. FUNKKASERNE CAMP WAREHOUSE. DAY
The WOMEN have set up a sewing center on one side of the
warehouse. Cutting tables and foot-operated sewing machines
are busy as the women create new clothing to sell to the
local Germans. Anna sits at a sewing machine applying the
final stitches to a wool coat.
EXT. FUNKKASERNE CAMP GROWING FIELDS. DAY
Erin, Gayanne, Klarisa and Eddie are in the vegetable garden
harvesting red ripe tomatoes.
KLARISA ANANIAN V.O.
Of course we had our problems. A
lot of the men were shell shocked
so they drank vodka all day, some
just passed out, others went
completely crazy!
EXT. FUNKKASERNE CAMP COURTYARD SNOW LINED. NIGHT
View from Klarisa’s window. A MIDDLE AGE MAN, drunk and
shirtless runs aimlessly around the courtyard yelling at the
top of his lungs.
MIDDLE AGE MAN
Mama Jan why did you leave me? Why?
Why?
He runs in circles, babbling incoherently. Running out of
steam, he trips and falls face first into the mud.
CUT TO:
EXT. FUNKKASERNE CAMP CHURCH BUILDING. DAY
71.
ESTABLISHING SHOT:
A large assembly building near the courtyard has been
converted into a church. A wooden cross crowns the entrance.
A BRIDE and GROOM are carried on chairs out of the church
doors. They are accompanied by about TWO THOUSAND GUESTS as
they make their way to the center courtyard.
KLARISA ANANIAN V.O.
Every time there was a wedding a
couple of thousand people showed
up. It was the same with funerals.
MONTAGE:
Everyone is now wearing black it’s the same shot as before
except now SIX PALLBEARERS carry a wooden coffin over their
heads. They exit the church and two thousand camp members
follow as they walk towards the exit of the camp.
KLARISA ANANIAN V.O. (CONT’D)
Our best parties were when a baby
was born. It would take almost two
days for everyone in the camp to
personally congratulate the parents
and family. After a few births we
figured out a better way.
The center courtyard is full of guests. The NEW PARENTS are
on stage holding the NEW CHILD. The father takes the baby
from its mother’s arms and holds it up for the crowd to see.
The camp members CLAP and HOLLER creating an ear numbing
ROAR.
KLARISA ANANIAN V.O. (CONT’D)
We had our own school were we
learned to read and write in
Armenian. They taught us history,
math and geography. Our favorite
lessons where about the United
States of America. All our hopes
were that we might get to someday
live there, to us it was the
promised land.
DISSOLVE TO:
Genres:
["Drama","Historical"]
Ratings
Scene
29 -
Hope for a New Life
INT. FUNKKASERNE CAMP SCHOOL BUILDING. DAY
Approximately three hundred students sit quietly paying
attention to their TEACHER who is pointing at a map attached
to a chalkboard.
72.
TEACHER
Alright, who knows the Capital of
The United States of America?
Klarisa enthusiastically raises her hand.
TEACHER (CONT’D)
Yes Klarisa.
KLARISA
Washington, D.C.
TEACHER
Correct! Washington D.C.
CUT TO:
INT. FUNKKASERNE CAMP CONVERTED ARMORY. DAY
Ashot works diligently creating a new set of boots for
Lieutenant Guardhouse. He applies some black wax and gives
the boots their final polish. He puts down the rag and wax
grabs the boots and heads out the door.
CUT TO:
INT. FUNKKASERNE CAMP ASHOT’S LIVING QUARTERS. DAY
Ashot enters his room to find Anna bent over changing a
blanket on one of the beds.
ASHOT
Hello, my love!
He puts the boots down and starts to hug Anna from behind.
ANNA
What are you doing?
She breaks away and walks over to the window. Gazing out the
window, the sun shines through her hair. Ashot approaches, he
places his hand gently on her cheek appreciating her beauty.
ASHOT
Have I told you how beautiful you
are?
ANNA
Stop it! I haven't been beautiful
for quite some time.
73.
ASHOT
Well you are, where are the
children?
ANNA
They went to Erin’s house. Did you
see the new blanket I got for
Eddie?
Ashot turns her around and starts to passionately kiss her.
Ashot knocks on the partially open door leading to
Guardhouse's office.
LIEUTENANT GUARDHOUSE
Come in!
Ashot enters with boots in hand.
ASHOT
Hello Commander I have those boots
I promised you!
Ashot proudly holds them up and hands them to Guardhouse.
Guardhouse is completely overwhelmed at how well-made they
are.
ASHOT (CONT’D)
They will last forever, your son
Will wear them.
LIEUTENANT GUARDHOUSE
No kidding they are absolutely
beautiful, you made these here at
the camp?
ASHOT
Yes Sir! I want to thank you for
helping me and my family!
Guardhouse puts the boots down and walks up to his desk.
LIEUTENANT GUARDHOUSE
I want to do something for you. I’m
going to write a letter of
recommendation for you.
(MORE)
74.
LIEUTENANT GUARDHOUSE (CONT’D)
When you go to America you can use
it to get a job. How do you spell
your name?
ASHOT
America? USA?
LIEUTENANT GUARDHOUSE
Yes, the USA. Now spell your name!
CUT TO:
EXT. FUNKKASERNE CAMP ASHOT’S LIVING QUARTERS. DAY
Ashot, Anna, Klarisa and Eddie are sitting around a small
table in the middle of the room. Anna is serving them a hot
meal of chicken, potatoes and a variety of vegetables.
ASHOT
The American Commander said we
might get a chance to go to
America! He gave me this letter.
He hands Anna the letter.
ASHOT (CONT’D)
He said I can get a job in the USA
with that letter. Make sure you
hide it Anna
ANNA
Don’t worry, I will put it in my
Bible.
KLARISA
We are going to America? Can we go
to Washington, D.C.? The President
of the United States lives there!
ASHOT
Yes if we get to go I’ll take you
to Washington D.C.
ANNA
The girls heard an American
Armenian is coming to our camp they
said his name is George Mardikian.
He is suppose to be very rich.
Maybe he will help us?
75.
ASHOT
Oh my God, freedom! Please if there
is a God? Please help us!
EDDIE
America!
Ashot surprised, picks up Eddie kisses him and begins to spin
around the room with Eddie raised above his head.
CUT TO:
Genres:
["Historical Drama","War"]
Ratings
Scene
30 -
A Promise Fulfilled: Bringing Hope to America
INT. 1940 CHEVY MILITARY SEDAN. DAY
GENERAL HAIG SHEKERJAIN and GEORGE MARDIKIAN are sitting in
the rear of a 1940 Chevy military sedan.
CUT TO:
EXT. FUNKKASERNE CAMP ENTRANCE. DAY
The military sedan is being escorted by a Jeep with two high
ranking soldiers. The gates open and the vehicles pull in.
They exit the sedan and see a church a school and a theater.
The camp members all twenty five hundred have assembled on
the courtyard. They are dressed in their best outfits every
one seems to have some sort of gift in their hands. Flowers,
candy, cookies, and bottles of alcohol. They all face the
camp entrance waiting for their esteemed guests. George
Mardikian’s eyes well up with tears.
GEORGE MARDIKIAN
I’m taking all these people back to
the States!
GENERAL SHEKERJIAN
All of them?
GEORGE MARDIKIAN
All of them!
George opens a camera case strapped over his shoulder, he
pulls out his Kodak Retina camera and takes a snapshot.
CUT TO:
76.
EXT. CIRCA 1948 POWELL STREET SAN FRANCISCO OMAR KHAYYAM’S
RESTAURANT. DAY
Establishing Shot: OMAR KHAYYAMS sign crowning George
Mardikian’s famous basement restaurant on Powell street.
First lady Eleanor Roosevelt's 1936 Ford Phaeton convertible
is parked out front of the buildings entrance. The car’s
front licence plate reads FDR1.
INT. OMAR KHAYYAMS BASEMENT RESTAURANT. DAY
We descend into the cavernous, lavishly decorated restaurant
below. On the left at the bottom of the stairs is the
Rubaiyat lounge with velvet banquettes, low Persian lamps,
and a gleaming chrome cash register. Tables in the restaurant
are contained in curtained chambers straight out of the
Arabian Nights. The walls are decorated with framed
inscriptions from “The Rubaiyat of Omar Khayyam”. A large
table covered with an overwhelming amount of Mediterranean
food and drink is set in the middle of the room. Eleanor
Roosevelt sits at the head of the table surrounded by FIFTEEN
OF HER FRIENDS and high ranking GOVERNMENT OFFICIALS. George
Mardikian, wearing his chef hat, brings to the table a large
rack of lamb plate with all the fixings.
ELEANOR ROOSEVELT
Oh my ! George you have definitely
outdone yourself. Absolutely
divine!
GEORGE MARDIKIAN
I cooked all of this especially for
you, Eleanor!
She turns to focus on George.
ELEANOR ROOSEVELT
Alright George what is it? You need
a favor or something?
GEORGE MARDIKIAN
Well now that you mention it
Eleanor I do. Something very close
to my heart.
ELEANOR ROOSEVELT
You know if I can help, you can
consider it done. What is it?
George pulls out a black and white picture of the twenty five
hundred Funkkaserne camp members. He hands it to Eleanor.
Eleanor takes a good look and passes it around the table.
77.
GEORGE MARDIKIAN
These are my people. They are
currently in a refugee camp near
Stuttgart Germany. I have been
trying to get them to come to the
United States for close to two
years with no help from the
government.
ELEANOR ROOSEVELT
Congress recently signed the
Displaced Persons Act and according
to Harry Truman and I quote, “In
its present form this bill is
flagrantly discriminatory. It mocks
the American tradition of fair
play”. And he is absolutely
correct! But, as flawed as it is,
he signed it because these people
need help now! At the very least
it, opens the doors to help your
people, George.
GEORGE MARDIKIAN
I will do whatever it takes to help
them!
ELEANOR ROOSEVELT
You need to get sponsors for each
family. I’m sure the people at this
table can help you, after all, they
are very popular. Isn’t that right,
Senator Cain ?
She glances around the room with an omnipresent stare. They
all react positively. SENATOR CAIN tall, dark and handsome.
He smiles at Eleanor.
SENATOR CAIN
Yes, Eleanor we are blessed. George
I would be honored to help you. My
family owns orange fields in SANTA
PAULA Valley. We can get them jobs
and housing. I’m sure through our
church we can get you the sponsors
you need!
GEORGE MARDIKIAN
I would be deeply indebted to you
Senator Cain!
SENATOR CAIN
It is absolutely not a problem.
78.
He glances at Eleanor, she’s content.
GEORGE MARDIKIAN
(Smiling ear to ear)
I want to thank you all! And
tonight the dinner is compliments
of Senator Cain. Please everyone
eat, drink and be happy.
Senator Cain is surprised but goes along with it as everyone
acknowledges his generosity. George signals to the stage
where his band begins to play a lively Armenian TUNE. George
walks over to Senator Cain, shakes his hand, and leans in to
whisper in his ear.
GEORGE MARDIKIAN (CONT’D)
Don’t worry. The dinners is on me.
SENATOR CAIN
I love you George, you’re the best!
By the way, may I keep this
picture?
GEORGE MARDIKIAN
Of course!
George catches Eleanor’s eye and throws her a kiss across the
table. She smiles back in her preeminence.
FADE TO BLACK.
Genres:
["Historical Drama","War"]
Ratings
Scene
31 -
Hope and Harmony: A Celebration of New Beginnings
INT. FUNKKASERNE CAMP ASHOT’S LIVING QUARTERS. DAY
The song’s HARMONY from the band in the restaurant blends
into Klarisa siting on a chair in the middle of the room
practicing her accordion. Ashot stands by her playing his
mandolin and continuing the HARMONY. Suddenly Ashot stops
playing.
ASHOT
Stop playing!
Klarisa stops and looks up to her father.
ASHOT (CONT’D)
Try playing in a higher note.
Klarisa pulls back on the accordion and hits a higher note.
ASHOT (CONT’D)
That’s it you got it!
79.
They continue to harmonize the lively Armenian song. The
front door opens Anna enters with Eddie in tow. She walks up
to Ashot and whispers in his ear.
ANNA
I’m pregnant.
Ashot stops playing and contemplates her remark.
ASHOT
Are you sure?
ANNA
Yes
I’m sure.
ASHOT
Oh my God we’re going to have a new
baby!
He puts the mandolin down and picks Anna up off the ground.
ANNA
Ashot! Put me down.
Ashot sets her back on her feet.
CUT TO:
INT. FUNKKASERNE CHURCH. DAY
Anna and Erin kneel near the alter praying with their heads
bowed. Anna holds a Bible in her hands. She makes the sign of
the cross and raises the bible to her lips.
ERIN
Anna, could you lend me your Bible?
ANNA
Gladly Erin. May God answer your
prayers.
Anna hands her the Bible.
ERIN
I’m praying we get to raise our
children in America.
ANNA
From your lips to God’s ears!
CUT TO:
80.
EXT. FUNKKASERNE CAMP COURTYARD. DAY
ESTABLISHING SHOT: The camp gates open to a large celebration
The Twenty five hundred camp members have assembled in the
center courtyard.
Sitting at a table overstocked with food and libation are
George Mardikian and his beautiful wife NAZELY. They are
accompanied by General Haig Shekerjian and a couple of CAMP
LEADERS. A few feet in front of them the camp members have
erected a stage in the courtyard. A complete orchestra has
been assembled on stage for entertainment. FOUR FEMALE CAMP
MEMBERS bring plates of skewered meats to the table and
distribute it among the Guests. Klarisa appears on stage and
approaches a microphone stand center stage. Ashot with
Mandolin in hand comes on stage. Anna enters along with the
other Musicians as they all take their places.
KLARISA
(In Armenian)
Dear honored guests we welcome you
with open hearts and open minds. In
the spirt of our ancestors, in the
love of Jesus Christ we accept you
into our home, our camp
Funkkaserne!
Klarisa takes a momentary step back as the band strikes up
the first chords of the song she had been diligently
rehearsing. With a renewed sense of purpose, she moves toward
her accordion, lifting it with familiar ease, and seamlessly
blends into the melody.
Anna, stepping confidently up to the microphone, adds her
vocals, her voice rich and emotive, filling the space with
its resonance. Ashot, not missing a beat, picks up his
mandolin and starts a lively dance in the traditional
Armenian style. His steps are light and expressive as he
circles Anna, serenading her with both his movements and the
music.
The audience, caught up in the joyous performance, roars with
appreciation, their applause and cheers filling the air.
Anna, visibly amused and energized by the response, smiles
broadly as she belts out the song's lyrics with vigor.
As the song draws to a close, Klarisa plays the final,
resonant notes on her accordion, her fingers expertly
navigating the keys. The audience responds with enthusiastic
applause, celebrating the performance they've just witnessed.
81.
Ashot, riding the wave of the audience's energy, steps up
next to Anna by the microphone. He pauses, letting the
applause die down, his expression reflecting a mix of pride
and gratitude as he prepares to address the crowd.
ASHOT
Now, I have the honor of
introducing our esteemed guests,
Mr. And Mrs. Ge orge Mardikian.
The crowd breaks out into a tremendous ROAR as George and
Nazely make their way to the microphone.
GEORGE MARDIKIAN
Thank you Thank you!
George pauses waiting for the crowd to settle down. People
begin to CLANG on their glasses using a fork. The crowd goes
silent.
GEORGE MARDIKIAN (CONT’D)
I brought my beautiful wife Nazely,
with me this time. And we are very
honored to be your guests. Thank
you for all your hospitality..
Today is a very special day for all
of us here. Today is the day I am
happy to announce we now are able
to get visas to America for all
your families.
The crowd claps waiting to hear more.
GEORGE MARDIKIAN (CONT’D)
Now, you need to understand this is
a long process and it could take
months for your paperwork to be
ready. But, I can assure you each
and every one of you will
eventually become American
citizens!
The crowd ROAR becomes overwhelming
DISSOLVE TO:
Genres:
["Drama","Historical"]
Ratings
Scene
32 -
New Life and Uncertain Waters
INT. FUNKKASERNE CAMP INFIRMARY. DAY
The crowd ROAR blends into Anna SCREAMING at the top of her
lungs. She lays in a bed with her legs spread and going
through painful labor contractions.
82.
Doctor Gabralian is examining her cervix as Ashot stands near
Anna holding her hand.
DOCTOR GABRALIAN
The baby is not breached but the
head is facing the wrong way!
Anna’s contractions subside.
ANNA
Something’s wrong Doctor, she won’t
come out!
The contractions start and so do her SCREAMS.
DOCTOR GABRALIAN
I can see her head, push! Push
Anna!
Anna screams louder pushing as hard as she can. Again, the
contractions subside. Anna seems to be slipping out of
consciousness.
ASHOT
Doctor Gabralian something’s wrong
with her?
Doctor Gabralian panics, he gets up and grabs a glass of
water and throws it in her face.
Anna reacts opening her eyes
DOCTOR GABRALIAN
Anna stay with us. I’m going to
pull her out this time You push as
hard as you can! You with me ?
She nods in agreement as the contractions start again. She
pushes with all her might.
ASHOT AND DOCTOR GABRALIAN
(In unison)
Push Anna!
The baby finally exits to everyone’s relief. Nurse Muriel
runs over with a water basin and towels. BABY RIMA starts to
cry as the nurse cleans her up.
NURSE MURIEL
It’s a girl!
CUT TO:
83.
INT. FUNKKASERNE CAMP ASHOT’S LIVING QUARTERS. DAY
Klarisa is sitting in a chair cradling her baby sister in her
arms. Eddie who is now a little older and matured, stands in
front of them staring at Baby Rima in amazement. Anna
prepares dinner in the background.
EDDIE
What’s her name Mama?
ANNA
Rima.
Ashot bursts into the room like a hurricane, he has a large
manila envelope in his hand, he runs around Klarisa and the
baby holding the envelope above his head.
ASHOT
We got it! We really got it!
ANNA
Got what?
ASHOT
We got our freedom! These are our
Visas.
Ashot opens the manila envelope and pulls out the documents.
ASHOT (CONT’D)
We are going to a place called...
Santa Paula, California!
They all look back at Ashot with blank stares.
We hear the FAINT PISTON CYCLE of a steamship.
DISSOLVE TO:
EXT. ESTABLISHING SHOT ATLANTIC OCEAN OFF THE NEW YORK COAST.
DAY
USS GENERAL MACRE, American troop transport vessel, capacity
three thousand plus cargo. As we near the ship the sound of
PISTON CYCLE becomes more audible. Over the deck we enter the
bowels of the ship where the PISTON CYCLE SOUND multiplies
into a hostile drone.
84.
INT. STEAMSHIP ENGINE COMPARTMENT. DAY
The ship’s engine department is damp and dimly lit. Soiled
CREW MEMBERS work diligently maintaining the engine’s
operations. We move through the engine compartment and into a
cargo hold separated by a watertight door. Inside the cargo
hold are approximately TWO HUNDRED AND FIFTY REFUGEES. People
are spread out across the cargo hold some laying on cots
others on the ship’s floor. Ashot lays on a cot fast asleep,
Klarisa cradles the baby sitting on a wooden crate near Anna
and Eddie. Ashot starts to SNORE when a few drops of water
trickle onto his face. He stops snoring and moves to wipe his
cheek when even more water splatters on his head. Waking up
annoyed he looks up to see where it’s coming from. He stands
up and examines the ship’s hull. A rivet joining two steel
plates is spurting out an intermittent stream of water.
ASHOT
Oh my God, the ship has a hole in
it!
ANNA
You better tell some one!
ASHOT
Move our stuff before it gets wet
our Visa papers are in there. I’ll
go get someone!
Ashot exits through the watertight door and into the engine
room. He waves down one of the ENGINEERING PERSONNEL. The
Engineer nears Ashot yelling over the engine NOISE.
ENGINEER
What’s the problem?
Ashot points to the cargo bay. He signals the engineer to
follow him. They enter the cargo bay and Ashot leads him to
the water leak.
ENGINEER (CONT’D)
Don’t worry it’s not bad, I’ll send
someone to fix it.
The engineer turns and heads back to the engine compartment.
A PREGNANT WOMAN sitting nearby turns green from sea
sickness, she leans down and vomits.
ASHOT
Anna I think we need some fresh air
let’s go up to the deck.
85.
They all quickly get up and leave.
CUT TO:
Genres:
["Drama","Historical"]
Ratings
Scene
33 -
A Ship in Distress
EXT. USS GENERAL MACRE TOP DECK . DAY
Ashot and his family are standing on the bow of the ship
enjoying a beautiful sunset. In the distance, we can begin to
make out the United States coastline.
KLARISA
Look Papa, I can see it! America!
ASHOT
Yes it is!
The sun sets as darkness falls and cloaks the view of land in
the distance.
ANNA
We better get back.
They all turn and head for the stairway heading down to the
cargo hold. As they near the stairwell Ashot sees a stream of
refugees exiting carrying their belongings up the stairs onto
the deck. Ashot approaches a REFUGEE.
ASHOT
What’s happening, where is everyone
going?
REFUGE
It’s flooded down there, we’re
moving to the front of the ship.
ASHOT
God damn it! Our visa papers!
Ashot rushes down the stairs pushing by others trying to get
out. He enters the cargo hold and sees TWO ENGINEERS working
trying to shore up a gushing hole. Ashot steps into knee-high
water. He wades around the floating debris of personal
belongings looking for his things.
ENGINEER 1
You need to get out right now!
ASHOT
I need my visa papers!
The Engineer working on the leak turns and heads to the
stairwells water tight door, he closes it and moves toward
the engine compartment. He grabs Ashot by the arm.
86.
ENGINEER 2
Let’s go we need to seal the
compartment!
Ashot sees the tea kettle floating and still attached to the
pillowcase. He reaches out and snags it as they exit the
cargo compartment. The watertight door SLAMS and CRANKS shut.
CUT TO:
EXT. USS GENERAL MACRE TOP DECK. DAY
CREW MEMBERS move all the REFUGES toward the bow of the ship.
The ship has now taken on a substantial amount of water in
it’s stern compartments lifting the bow ten feet out of the
water. Anna, Klarisa, Eddie, and baby Rima have been placed
on a life boat.
CUT TO:
INT. USS GENERAL MACRE NAVIGATION DECK. DAY
The navigation deck is chaotic, NAVY PERSONNEL are running
around performing their duties in panic mode.
CAPTAIN LESSER, late fifties, pale, white, skin, piercing,
blue eyes, an excellent captain with a big problem. He turns
to his FIRST LIEUTENANT THOMAS JOHNSON, mid-forties square-
jawed, handsome.
CAPTAIN LESSER
How long until the Coast Guard get
here!?
LIEUTENANT JOHNSON
ETA is sixty-five minutes, Sir!
CAPTAIN LESSER
Get all the women and children off
first. I’m not taking any chances!
LIEUTENANT JOHNSON
Lifeboats are being loaded as we
speak, Captain!
CAPTAIN LESSER
Unbelievable! Just a few more miles
and she would have made it home!
CUT TO:
87.
EXT. USS GENERAL MACRE TOP DECK . DAY
The SHIP’S CREW MEMBERS are about to lower the lifeboat into
the choppy sea. Ashot has approached the life boat. Klarisa
stands up and yells.
KLARISA
Papa!!! Papa!
CREW MEMBER
Go ahead, Bring it in!
The life Boat starts its descent. Ashot tosses Klarisa the
Copper Kettle attached to the pillowcase, she reels it in
just as the life-boat hits the water. Ashot looks down the
side of the ship contemplating jumping overboard. He looks
back towards the length of the ship noticing the ever-
increasing slope of the deck. He turns to remove a flotation
device strapped to the ship’s deck rail.
CREW MEMBER (CONT’D)
Hey you! Don’t do that the Coast
Guard is coming!
Ashot throws the flotation ring, climbs the rail and jumps
feet first into the water and out of sight. The crew member
runs over to the guardrail and looks over waiting for Ashot
to emerge. A few moments pass and no Ashot. The crew member
climbs to the top of the guardrail.
CREW MEMBER (CONT’D)
Where did he go?
The crew member spots a SHARK FIN circling ominously around
Ashot’s submersion. Ashot abruptly emerges from the depths of
the ocean. Getting his bearings, he swims towards the
lifeboat with shark in tow.
CUT TO:
Genres:
["Drama","Historical","War"]
Ratings
Scene
34 -
Arrival at Ellis Island
INT. LIFE BOAT. DAY
Klarisa leans over the edge of the lifeboat waving her hands
in desperation.
KLARISA
Hurry Papa! Swim as fast as you
can! There’s a big fish following
you!
88.
Ashot turns and sees the shark getting closer, he turns and
starts swimming at an adrenaline fueled pace. Reaching the
lifeboat, he reaches out trying to grab on to the edge of the
boat. An ELDERLY MAN and his TWO TEENAGE GRANDSONS move into
position reaching out and clutching Ashot by his arms. They
all strain to pull Ashot out of the water and into the boat.
ASHOT
(Breathing heavy)
Thank you! I thought I was going to
die!
We see in the distance an armada of Coast Guard vessels
traveling at full speed towards the USS GENERAL MACRE.
CUT TO:
INT. COAST GUARD VESSEL. DAY
Ashot has changed out of his wet clothing and is now wearing
a borrowed Coast Guard uniform. He sits next to Klarisa with
his arm around her happy to be alive. Anna, Eddie and Rima
sit on a bench nearby. The Coast Guard Cutter is approaching
The Statue of Liberty. Klarisa jumps up from her seat and
points as the Coast Guard Cutter cruises by Liberty Island.
KLARISA
Mama, look it’s the Virgin Mary!
She’s here in America!
ANNA
(Smiles)
No sweetie, that is the Statue of
Liberty. She stands for Freedom in
the United States of America.
KLARISA
She’s beautiful!
ASHOT
Yes, she sure is!
CUT TO:
INT. ELLIS ISLAND IMMIGRATION BUILDING. DAY
HUNDREDS OF IMMIGRANTS are crammed into the central waiting
room, most have their Visa papers in hand. Ashot, Anna,
Klarisa, Eddie and Rima are sitting in the center of the
room waiting their turn.
89.
Anna turns around to look at the crowd behind her, she spots
Erin and her family a few rows behind. Erin recognizes her as
they wave to each other.
ASHOT
(Glances around the room)
Everyone has their Visa papers but
us!
ANNA
Whose fault is that?
ASHOT
It’s not my fault! How was I
supposed to know the ship was going
to sink?
ANNA
You should have kept them on you.
Sitting at a desk at the front of the room is the MAIN CLERK
late sixties gray hair no nonsense attitude. He writes 39 on
a piece of paper and raises it up in the air.
MAIN CLERK
Thirty Nine anybody Thirty nine?
Ashot looks down at his ticket.
ASHOT
That’s us!
Ashot raises the ticket above his head. The Clerk waves them
over. Ashot and family are lead into an interview room.
CUT TO:
Genres:
["Drama","Historical","War"]
Ratings
Scene
35 -
The Letter of Hope
INT. ELLIS ISLAND IMMIGRATION INTERVIEW ROOM DAY.
IMMIGRATION OFFICER DONALD HENDERSON, mid forties, light
brown hair, hazel eyes, insensitive disposition. Ashot and
his family sit quietly humbled by the officer’s presence.
OFFICER HENDERSON
Can I please see your Visa papers?
ASHOT
I’m very sorry sir my papers are on
the bottom of the ocean.
OFFICER HENDERSON
You were on the General Macre?
90.
ASHOT
Yes sir we lost almost all our
belongings.
OFFICER HENDERSON
Well this makes things very
difficult for us to process. Do you
have anything that will tell us who
you are?
ASHOT
No sir.
Officer Henderson stands up and moves towards the door.
OFFICER HENDERSON
Please wait here I need to speak to
a supervisor.
Officer Henderson leaves the room closing the door behind
him.
ASHOT
Oh my God they are going to send us
back to Russia!
ANNA
Thanks to you!
Anna has a revelation she jumps up out of her chair handing
baby Rima to Ashot and heading for the door.
ASHOT
Where are you going?
ANNA
To save us!
Anna rushes out to the hallway where she is noticed by a
SUPERVISOR IMMIGRATION OFFICER. He watches her as she runs
into the waiting area.
CUT TO:
INT. ELLIS ISLAND IMMIGRATION OFFICE WAITING AREA. DAY
Anna enters the waiting area and approaches Erin and Gayanne.
She leans in and kisses both of them on the cheek.
91.
ANNA
Hi Erin, Gayanne, how’s everything
going?
ERIN
Everything is alright God heard us
and here we are in America! How
about you?
ANNA
We have a big problem, please tell
me you have my Bible?
ERIN
Oh my God, I forgot to give it back
to you! I’m so sorry!
ANNA
It’s okay, Erin please say you
still have it!
ERIN
I do, it’s right here in my bag.
She opens her bag and hands Anna the Bible. Anna opens the
Bible and finds Commander Guardhouse’s letter.
ANNA
Erin, you saved our lives! Thank
you!
Anna rushes back towards the interview room.
CUT TO:
INT. ELLIS ISLAND IMMIGRATION INTERVIEW OFFICE. DAY
Officer Henderson is now back at his desk shuffling through
papers. Baby Rima is agitated, she WHIMPERS and CRIES as
Klarisa tries to comfort her.
OFFICER HENDERSON
We are searching for your
application. Unfortunately, this
can take quite awhile. We need to
have some proof of who you are
before we can let you in to the
country.
Ashot slumps into his chair in despair when suddenly the door
swings open. Officer Henderson is taken aback as Anna swoops
in with Bible in hand. Ashot jumps to attention and
approaches the desk.
92.
OFFICER HENDERSON (CONT’D)
What is this?
ANNA
It’s proof of who we are!
Anna opens the Bible and removes the letter handing it to
Officer Henderson.
ASHOT
The American Commander at the camp
gave it to me as a recommendation
for a job. It has my name on it!
Henderson opens the letter and puts on his reading glasses.
OFFICER HENDERSON
Well, let’s take a look. Can I ask
why he gave you this letter?
ASHOT
I made him a pair of new boots.
Officer Henderson scrutinizes the letter he stops a moment to
look over his glasses at Ashot and then back to letter.
OFFICER HENDERSON
I’ve seen these letters before most
of them are fake.
SUPERVISOR JOHN WALLACE stern and authoritative enters the
room and observes the situation.
SUPERVISOR WALLACE
What’s the problem here?
OFFICER HENDERSON
They apparently have a letter from
a U.S. Commander.
SUPERVISOR WALLACE
Let me have a look at the letter.
Officer Henderson hands him the letter. The Supervisor reads
through it, he notices the Colonel’s military seal stamp on
the bottom of the letter, using his thumb he feels the
embossed seal.
SUPERVISOR WALLACE (CONT’D)
Lieutenant Colonel William
Guardhouse! Unbelievable you know
this man is a war hero!
(MORE)
93.
SUPERVISOR WALLACE (CONT’D)
He single- handed took out a German
artillery unit saved hundreds of
our soldiers. This letter is
authentic! Go ahead Donald start
the paperwork, I’ll approve it!
Officer Henderson shakes his head in disbelief. He shuffles
the papers together, pulls a stamp and ink pad from his desk
drawer. He folds up the letter and hands it to Ashot.
OFFICER HENDERSON
(Stamping the papers)
Welcome to America !
CUT TO:
Genres:
["Drama","Historical"]
Ratings
Scene
36 -
A New Beginning: Abundance and Gratitude
EXT. SANTA PAULA CALIFORNIA ORANGE GROOVES. DAY
ESTABLISHING SHOT:
Thousands of Orange trees create the seemingly unending
groves. They sweep through the valley’s two thousand acre
site. As we near, we notice the trees are overflowing with
huge ripe oranges. In the distance is a development of two
hundred American bungalow style homes. Most contain two
bedrooms with small front and backyards. We stop at one of
the homes in the center of the street.
CUT TO:
INT. SMALL TWO BEDROOM AMERICAN BUNGALOW HOUSE. DAY
A large pot of soup stews on a small four burner stove. Anna
lifts the pot lid and gives it a quick stir. Klarisa and
Eddie are sitting on the living room floor playing with Baby
Rima. Anna exits the kitchen with a baby bottle full of milk.
She picks up Rima and begins to feed her the milk.
ANNA
Put Eddie’s shoes on, we are going
into town. Papa said they have
stores with anything you can think
of.
CUT TO:
INT. 1949 FORD SEDAN. DAY
Ashot sits in the passenger seat with his new friend, NISHAN
KERKORIAN.
94.
Built like a boxer, dark eyes, five o'clock shadow. They
drive through the housing development on an asphalt paved
street.
NISHAN
The orange picking season will be
over soon. You need to come to Los
Angeles with me, more work and more
money!
ASHOT
I don’t know anybody in Los
Angeles.
NISHAN
Don't worry my younger brother
Krekor is a big shot in Los
Angeles. Believe me, he can get you
a job.
ASHOT
Thank you so much! Mr. Kerkorian.
My family will be indebted to you.
NISHAN
Please call me Nishan and you have
to understand when my parents came
here from Armenia, they were like
you broke with just their clothes
on their backs. When your ready to
come you call me!
Ashot glances over to the houses.
ASHOT
It’s coming up here on the right.
Thank you so much for doing this!
Nishan pulls up and parks in front of the small house. Ashot
jumps out and closes the door. He runs and enters through the
front door.
INT. SMALL TWO BEDROOM AMERICAN BUNGALOW HOUSE. DAY
Ashot enters to see his family are ready to go.
ASHOT
Everybody ready? My friend Nishan
is going to give us a ride in his
new car.
KLARISA
I’m ready Papa let’s go!
95.
EDDIE
Me too! I’m ready!
ASHOT
Alright let’s go!
He opens the door as they all move outside towards the car.
CUT TO:
EXT. DOWNTOWN SANTA PAULA MAIN BOULEVARD. DAY
Nishan pulls his Ford sedan up to a large supermarket on the
corner of the street. Ashot jumps out and opens the rear door
letting everybody out. The car door slams shut as Nishan
drives away. They stand in front of the large glass double
doors. Ashot pushes the door open and they all enter a
massive grocery store with over fifteen isles of shelves
stacked high with a variety of different foods.
ASHOT
Oh my God! It’s like a museum of
food!
They all have expressions of amazement. Ashot spots the
butcher department on the right side of the store. Klarisa
and Eddie spot the snack isle. Anna gazes at all the fruits
and vegetables. She quickly makes the sign of the cross.
ANNA
Thank you, God for bringing us to
America!
Nishan enters the store and approaches Ashot and his family.
ASHOT
Let’s get what we need, we only
have eight dollars!
Nishan steps up behind Ashot and places his hand onto Ashot’s
shoulder.
NISHAN
You kids go ahead and get whatever
you want! Uncle Nishan is going to
take care of it!
ASHOT
Oh no, we can’t take your money.
Klarisa and Eddie hesitate.
96.
NISHAN
If you don’t I will be very upset.
He stares back seriously a moment and then smiles.
NISHAN (CONT’D)
Don’t worry, you can pay me back
with your new job in Los Angeles.
ASHOT
Alright, you have a deal. Thank
you!
Ashot firmly shakes his hand and gives him a hug. Klarisa
comes over and hugs him too.
KLARISA
Thank you, Uncle Nishan!
NISHAN
You’re welcome Sweetheart, now go
ahead and get what you want.
KLARISA ANANIAN V.O.
When we saw that Supermarket with
shelves on top of shelves all full
of food, we knew we came to
paradise! This was the United
States of America. We dreamed about
it and we had finally made it! We
stayed in Santa Paula a few more
months then we moved to Los
Angeles.
DISSOLVE TO:
Genres:
["Drama","Family"]
Ratings
Scene
37 -
Haunted by the Past
EXT. LOS ANGELES CALIFORNIA CIRCA 1950. DAY
Aerial view of Down town on a hot summer day. We fly over
palm trees and American Bungalow homes as we reach its
tallest building, the L.A. City Hall. We descend to the
street and enter The Garment District. The main drag is busy
with cars and trucks moving in both directions. MERCHANTS
push racks of clothing down the sidewalks trying to avoid
hordes of SHOPPERS. We move past a row of small dress shops
and stop at a large warehouse on the corner.
CUT TO:
97.
INT. FABRIC RECYCLING WAREHOUSE. DAY
In a sprawling ten-thousand-square-foot facility, the floor
is a colorful mosaic of fabric scraps. The hustle of activity
increases as flatbed trucks laden with old clothing and
fabric scraps arrive at the docking area. Ashot positions
himself, waiting for one particular truck to reverse and
unload its cargo.
The truck driver climbs out, maneuvers to the rear, and pulls
a lever. With a mechanical groan, the bed of the truck tilts
back, releasing a cascade of bundled clothing. Ashot springs
into action, quickly dragging the bundles to a nearby sorting
area. As the truck departs, he tears open the bundles,
sorting with practiced efficiency: cotton here, wool there.
Men's coats, women's dresses, children's wear—each piece
swiftly identified and thrown into its respective pile.
As Ashot works, his pace feverish, sweat begins to bead on
his forehead. The air is thick with the flutter of clothing,
creating a blur of motion around him. Suddenly, the frenetic
scene triggers a vivid flashback.
FLASHBACK: AUSCHWITZ EXTERMINATION CAMP - DAY
The memory is harsh, jarring. Clothing flies through the air
in a similarly frenzied manner, but here it's thrown into a
giant, roaring oven. Ashot stands by a cart overflowing with
the discarded clothing of Holocaust victims. He grabs an
armful and tosses it into the furnace. Turning back to the
cart for more, a small blue velvet baby vest, trimmed with
lace, clings to his chest. The delicate garment, a stark
reminder of innocent lives lost, brings a sudden halt to his
motions.
Holding the vest, Ashot's hands tremble as a heavy silence
envelops him. A moment passes, and tears well up in his eyes.
Overwhelmed by the weight of his memories and the stark
reality of his past, he collapses to his knees, consumed by
grief. The harsh and haunting memory serves as a poignant
reminder of the depths of human suffering and the scars that
remain.
CUT TO:
Genres:
["Drama","Historical"]
Ratings
Scene
38 -
Fabric Scraps and Family Concerns
INT. FABRIC RECYCLING WAREHOUSE. DAY
Ashot is on his knees in tears amongst the piles of fabric
and clothing. His boss, URI MARKARIAN, six feet three a large
man with a big heart. He walks up to Ashot and shakes him
back to reality.
98.
URI MARKARIAN
Ashot!
Ashot looks up, eyes full of tears.
URI MARKARIAN (CONT’D)
Ashot! You alright?
Ashot realizes where he is and jumps to attention.
ASHOT
Yes, I’m alright.
Uri helps him to his feet.
URI MARKARIAN
Come with me.
Ashot a little skeptical follows him. Uri leads Ashot to his
run-down office They enter as Uri moves to his desk opens a
drawer and pulls out a bottle of Vodka and a couple of shot
glasses. He pours the shots and hands Ashot the glass.
URI MARKARIAN (CONT’D)
Nishan told me what happened to you
in Germany. Let’s drink to our
health
ASHOT
To our health!
Uri CLINKS Ashot’s glass, they swallow the shots whole and
SLAM the glasses back down on the table.
URI MARKARIAN
I need you to take the truck and go
see Margo. Again she called and
said she has another shipment for
us.
ASHOT
No problem, I’ll go right now!
URI MARKARIAN
No not now, one more shot for the
road!
Uri pours another round, they CLINK again and down their
shots.
CUT TO:
99.
EXT. CATALINA SWIMWEAR FACTORY LOS ANGELES GARMENT DISTRICT.
DAY
Ashot backs the truck into one of the many loading docks.
MARGO MURKIJANIAN mid-forties, blue eyes, red hair,
curvaceous, Armenian, she walks over to greet Ashot as he
exits the truck.
MARGO
Hello Ashot, how are you?
ASHOT
Good day Margo, I’m doing alright.
MARGO
How’s the family? Your daughter
Klarisa must be all grown up now!
ASHOT
She’s nineteen years old and wants
to get married. I think she’s too
young for marriage!
MARGO
I know it’s so hard you raise them
worry about them, and then they
leave you.
ASHOT
I don’t know who he is or who his
parents are? And I’m supposed to
say it’s fine?
MARGO
Your wife Anna how old was she when
you married her?
Ashot hesitates and changes the subject. He points to a large
pile of bundled sewing scraps sitting on the dock.
ASHOT
Is this it?
Margo senses his stubbornness.
MARGO
Well, don’t feel bad Ashot, my son
has a girlfriend I’ve never seen.
And he’s also talking about
marriage.
Ashot doesn't want to hear it he leans over and starts
loading the buddles onto the truck.
100.
ASHOT
She’s still a child.
MARGO
Whether you like it or not, she
will eventually become a woman.
CUT TO:
Genres:
["Drama","Family"]
Ratings
Scene
39 -
A Father's Reluctance
EXT. UNION PACIFIC AVE CIRCA 1956 LOS ANGELES. DAY
Ashot’s 1951 Chevy Skyline is parked in the driveway of a
small, two bedroom, nineteen twenties, wood sided home. We
hear Klarisa SCREAMING and CRYING from outside the house.
KLARISA V.O.
But Papa, I love him!
CUT TO:
INT. NINETEEN TWENTIES, SMALL, WOOD SIDED, HOME. DAY
Rima sits in a high chair next to Eddie in a small dining
area in the kitchen. Klarisa is sitting on the couch sobbing.
Ashot paces back and forth while Anna stands between them
refereeing the situation.
ANNA
Why are you being so stubborn!
She’s in love! Or did you forget
about love?
ASHOT
What love? She’s too young to get
married! That’s it, I don’t want to
talk about it!
Klarisa’s sobbing elevates quickly to balling.
KLARISA
I’m not a baby anymore! I’m going
to be twenty years old. Mama was
nineteen when you married her!
Anna grabs Ashot’s arm and pulls him into their bedroom.
CUT TO:
INT. BEDROOM. DAY
Anna gets into Ashot’s space, her face reddens with anger.
101.
ANNA
Now, you are going to listen to me!
Klarisa’s life up to now has been
“Hell on Earth”. We have to thank
God we made it this far! Now she
has a chance for some happiness,
I’m not going to rob her of that
and neither are you!
Ashot stares back dumbfounded.
ANNA (CONT’D)
Now you go out there and tell her
you’ll meet the Boy’s family. Go!
Anna pushes him out the door and into the living room.
CUT TO:
INT. LIVING ROOM . DAY
Ashot walks up to Klarisa sitting on the couch, head in
hands, sobbing. She looks up curiously.
ASHOT
I will meet his family.
KLARISA
Really!
Ashot nods in agreement. Klarisa jumps up excited, she hugs
and kisses him. Anna watches from the doorway.
KLARISA (CONT’D)
It’s just him and his mother he
lost his father during the war.
FADE OUT.
FADE IN:
EXT. UNION PACIFIC AVE. DAY.
Margo and her son, PETER, mid-twenties, tall, dark haired and
handsome. He sport’s an Elvis Presley hair style and drives a
1953 Cadillac Coupe Deville. They drive by the original
Quaker Oats Factory.
MARGO
Are you sure you’re ready for
marriage?
102.
PETER
I just got a raise at the Ford
company. I’m ready!
MARGO
That’s not what I’m talking about.
Are you in love?
PETER
Yes Mother I love her! Here it is
3520 Union Pacific.
Peter pulls up and parks in front of Klarisa’s house.
Genres:
["Drama","Romance"]
Ratings
Scene
40 -
Dinner Guests Arrive
INT. LIVING ROOM KLARISA’S HOUSE. DAY
Klarisa peeks out the living room window and sees the
Cadillac pull up.
KLARISA
Mama, Papa they’re here!
CUT TO:
INT. BEDROOM. DAY
Anna has laid Rima in her crib and she’s fast asleep. Ashot
finishes buttoning up a dress shirt.
ANNA
(Whispering)
You better be nice to these people!
Start by smiling, don’t ruin this,
do you understand?
Ashot forces a smile and nods in agreement.
ANNA (CONT’D)
Alright, let’s go.
CUT TO:
INT. LIVING ROOM. DAY
Ashot and Anna enter the living room, a table for six has
been set in the middle of the room. It is stocked with an
overwhelming amount of salads, cold cuts, and Armenian food.
They all move past the table and exit the house.
CUT TO:
103.
EXT. UNION PACIFIC AVE. DAY
Klarisa excitedly bolts ahead of Eddie and her parents. Peter
has exited the car and is helping Margo out of her seat. He
opens the car’s rear door and removes a bouquet of flowers
and a bottle of cognac. They all gather on the sidewalk and
wait for Margo to exit. Margo turns to face them, she looks
up straight at Ashot. Ashot looks back in amazement.
ASHOT
Margo?
MARGO
Ashot Jan!
Anna and Klarisa are surprised.
ANNA
You know each other?
ASHOT
Margo works at Catalina swimsuits.
Its part of my route. Margo this is
my wife Anna and my son Eddie.
Margo extends her hand.
MARGO
Pleasure to meet you Anna! This is
my son, Peter.
Peter extends his hand to Anna and then to Ashot, Eddie walks
over and shakes hands with Peter in a very manly way.
EDDIE
Nice to meet you.
Peter is impressed.
PETER
Nice to meet you Eddie.
Peter turns to Klarisa and grabs her hand.
PETER (CONT’D)
Mom this is Klarisa.
Klarisa approaches Margo, she kisses her on both cheeks and
gives Margo a big hug.
MARGO
What a beautiful girl!
104.
ASHOT
Please everyone let’s go inside we
have a big dinner waiting for us!
They all move up the walkway towards the house.
CUT TO:
Genres:
["Drama","Family","Romance"]
Ratings
Scene
41 -
A Celebration of Family and Love
EXT. LOS ANGELES CIRCA 1955, OUR LADY QUEEN OF MARTYRS
ARMENIAN CHURCH. DAY
A small Catholic Church at 1339 Pleasant Ave. The Church
built in the thirties is nestled into a hillside with a view
of downtown from its entrance. A steep driveway leads to a
large parking lot located near the side of the church. We
move up the driveway into a parking lot full of late model
Cadillas and Lincolns. We move through a walkway leading to a
set of double doors. The doors open.
MOVE TO:
INT ARMENIAN CHURCH BANQUET HALL.
The hall is occupied way over capacity, approximately five
hundred people are seated or standing around the dance floor.
Familiar faces from the Funkkaserne DP camp are dotted
throughout the crowd. Klarisa And Peter sit at the main
table. Klarisa’s family sits on her right side and Peter’s
extended family sit on the left. Directly behind them on
stage are MAESTRO EDWARD HOCHARIAN mid-forties, jet black
hair. He’s a composer and looks it. His eight piece Armenian
ORCHESTRA is tuning up preparing to play. Ashot, Anna and
Margo stand near the entrance greeting GUEST as they enter.
Simon, who was injured at the Damlier company in Stuttgart
enters wearing an expensive suit. With his beautiful wife,
SERA by his side, he approaches Ashot.
SIMON
Ashot Jan!
Ashot recognizes him, they hug as Simon kisses Ashot on both
cheeks.
ASHOT
Simon, my friend ! I’m so glad you
came, I want you to sit with me.
Anna!
Ashot waves Anna over.
105.
ASHOT (CONT’D)
Anna, you remember Simon And Sera?
ANNA
Of course I do! Sera, Simon..
They shake hands Simon puts out his left hand. Anna
acknowledges she knows about his injured hand.
ASHOT
Sit them at our table!
ANNA
Absolutely, please come with me!
Anna leads them to the main table. Ashot turns around and is
now face to face with his friend Nishan Kerkorian.
NISHAN
(In Armenian)
Ashot Jan! Light to your eyes!
They hug, Ashot respectfully kisses Nishan on both cheeks.
ASHOT
Nishan jan, you look good!
NISHAN
Thank you I've been training for a
big fight coming up.
The PA system SQUEALS as Eddie Hocharian nears the
microphone.
EDDIE HOCHARIAN
Ladies and Gentelman your attention
please!
The CROWD continues a mild CLAMOR, GUESTS start to CLANG
their utensils on the drinking glasses.
EDDIE HOCHARIAN (CONT’D)
(In Armenian)
Honored Guests your attention
please!
The crowd quiets down. Ashot and Nishan turn towards the
stage.
EDDIE HOCHARIAN (CONT’D)
We come together today to celebrate
a very special occasion.
(MORE)
106.
EDDIE HOCHARIAN (CONT’D)
The marriage of Peter and Klarisa
Murkijanian!
Drum beats fill the air as the orchestra builds up momentum.
EDDIE HOCHARIAN (CONT’D)
Let’s start the celebration with
the Shabash dance!
Clarinets begin to SQUEAL as Klarisa and Peter stand up and
enter the dance floor area. The crowd roars in appreciation.
Peter starts to dance Armenian style as he circles around
Klarisa accenting the mood. Ashot walks over to the table and
stands next to Anna. Nishan reaches into his jacket and pulls
out a large roll of money, he runs over to the bride and
groom showering them with hundreds of dollar bills. Klarisa
waves to her Parents inviting them to join in on the dance.
Ashot and Anna enter the dance floor as the crowd roars to a
louder level. Ashot begins to circle around them doing the
famous Hopak Cossack Dance. The crowd roars even louder as he
flies through the air kicking and extending his arms in
perfect Cossack style. A series of characters from the camp,
one by one appear and shower money upon them. Armen, Doctor
Gabralian, Simon, and a host of familiar faces take part.
Guests start to flood the dance floor, they dance around the
family pinky fingers entwined. The line grows so large it
extends into the table area. Eddie Hocharian and the
orchestra speed up the pace of the song adding to the
spectacle unfolding on the dance floor.
EDDIE HOCHARIAN (CONT’D)
Opah! Tashi !
Maestro Hocharian turns toward his orchestra with baton in
hand. He motions to raise the tempo and finally crescendo to
the songs finale.
EDDIE HOCHARIAN (CONT’D)
Thank you! Thank you very much!
The guests clap and cheer as things wind down on the dance
floor.
EDDIE HOCHARIAN (CONT’D)
Ladies and Gentelman, can I please
have your attention!
The guests all turn and face the stage.
EDDIE HOCHARIAN (CONT’D)
It is my pleasure to introduce a
man you all know well!
(MORE)
107.
EDDIE HOCHARIAN (CONT’D)
The father of the bride, Ashot
Ananian. Ashot, please come up
here.
Ashot, a little reluctant, makes his way to the microphone.
ASHOT
Thank you, Maestro Hocharian!
Ashot stares out into the crowd of familiar faces. He loves
these people and they all know it. He looks down at Klarisa,
her loving gaze says it all. He pauses a beat and looks back
to the crowd.
ASHOT (CONT’D)
Well here we are all together
again! I see everyone looks good
and healthy. My wife says I have to
buy a Cadillac she says all the
DP’s drive a Cadillac .
The men in the audience of guests smile, proud of themselves.
ASHOT (CONT’D)
God bless America!
Ashot’s boss Uri Markarian stands up and raises his shot
glass into the air.
MAN
Ashot jan! I will drink to that!
God bless America!
The guests all raise their glasses into the air. Some one
hands Ashot a shot glass filled with Vodka.
ASHOT
God bless America!
He throws the drink back quickly and sets the glass down.
ASHOT (CONT’D)
My new in-law Margo Murkijanian.
He glances over to Margo who smiles and waves back.
ASHOT (CONT’D)
She said one day my daughter would
become a woman and whether I liked
it or not it was going to happen.
Well it did!
Everyone turns and smiles at Margo.
108.
ASHOT (CONT’D)
At first I couldn’t accept it,
after all she is my little girl, I
would give my life for her!
Ashot looks down into Klarisa’s eyes. She gazes back with
tears of joy.
DISSOLVE TO:
FLASH BACK MONTAGE:
Genres:
["Drama","Romance","Family"]
Ratings
Scene
42 -
A Legacy of Love and Faith
INT. GERMAN MILITARY TRUCK. DAY
Klarisa clings to her mother sobbing in the back of the
German Army truck as they are driven from their home.
DISSOLVE TO:
EXT. WARSAW, TRAIN TERMINAL. DAY
We watch from the moving train as Klarisa is left alone at
the train station.
DISSOLVE TO:
EXT. AUSCHWITZ CONCENTRATION CAMP. DAY
Ashot’s POV, Klarisa standing alone, clutching her rag doll
amongst barbed wire and dead corpses.
DISSOLVE TO:
INT. LABOR CAMP BARRACKS. DAY
Klarisa pouts dressed like a boy.
DISSOLVE TO:
INT. UNION PACIFIC HOUSE LIVING ROOM. DAY
Ashot’s POV, Klarisa sits on the couch sobbing, she looks up
to him with tearful, imploring eyes.
DISSOLVE TO:
109.
INT. CHURCH RECEPTION HALL. NIGHT
Ashot tearing up continues his speech.
ASHOT
But now I see the happiness in her
heart the Joy in her spirit. I see
myself and my beautiful wife.
He looks over and acknowledges her.
ASHOT (CONT’D)
I remember how we fell in love and
how happy we were.
ANNA
How happy we are!
The guests love it! A wave of laughter moves through the
room.
ASHOT
Yes, she’s right how happy we are!
And now, today, how happy Klarisa
and Peter are! I want everyone to
drink to their health and
happiness!
Salute!
Ashot and the guests throw back their shots. The guests start
to CLAP and CHEER. Eddie Hocharian approaches and hands Ashot
his mandolin, Ashot surprised takes it into his hands.
ASHOT (CONT’D)
Thank you Maestro!
EDDIE HOCHARIAN
Ashot Ananian everyone!
The crowd CHEERS. Eddie Hocharian raises his baton, the band
on his cue starts to play the same song Ashot played for
George Mardikian at Funkkaserne. Ashot begins to play the
mandolin, he brings the instrument close to the microphone
accenting his strumming. A procession of GUESTS enter the
dance floor and synchronize themselves as they begin to dance
with intricate traditional moves. We spin around with them in
the center as women and men dance precisely around the
perimeter of the dance floor.
110.
KLARISA ANANIAN V.O.
My wedding was fantastic, we
celebrated until five o'clock in
the morning. My father got so drunk
we had to carry him to the car!
DISSOLVE TO:
INT DINNING ROOM MODERN HOME CIRCA 2016. DAY
Close up: KLARISA ANANIAN eighty years old frail but alert.
KLARISA
Pete and I worked hard and bought a
house. In 1957, Joe was born and
three years later Gregory came. And
now, here I am with my beautiful
grandchildren.
The camera pulls out to a dining table full of food. Klarisa
reaches out and grabs the handle of the famous KETTLE, she
pours hot water into a teacup. The camera pans the table
showing her TWO SONS and THREE GRANDCHILDREN.
KLARISA (CONT’D)
So when I die I want you to
remember what we had to go through
so you can have a better life. And
remember, when you have a problem
the power of God is inside of you,
all you have to do is ask for his
help!
YOUNGEST GRANDCHILD
Grandma, you’re not going to die!
KLARISA
(Smiling)
Don’t worry, not today!
END TITLES ROLL mixed with outtakes of cast and crew during
filming .
111.