Friday, 21 February 2014

JERRY LEWIS JOSEPH LEVITCH THE DAY THE CLOWN CRIED IN AUSCHWITZ DURING WWII.

APARTHEID ETHNIC CLEANSING ISRAEL HOLOCAUSTING THE PALESTINIANS WITH UN AND WESTERN COMPLICITY

ISRAEL MUST BE MADE TO SUFFER FOR THEIR CRIMES SAYS BRITISH MP GERALD KAUFMAN MP  
JERRYHITLER


I DO NOT PARTICULARLY LIKE ARTISTS CHANGING THEIR NAMES AND DENYING THEIR ROOTS FOR EVER FOR MONEY AND FAME, AND THERE ARE MILLIONS OF THEM!   
JEWS SEEM TO HEAD THE LIST AND ESPECIALLY IN POLITICS HIDING THEMSELVES BEHIND GOYIM NAMES!
BUT, YOUNG JERRY REMAINS ONE OF MY ALL TIME FAVOURITES 


The Auschwitz German imprisoned for impersonating Herr Adolph Hitler leading Jewish children that he had entertained previously to the homicidal gas chambers that never existed for real and to be killed by gassing!!!  PATHETIC!!!

It is more likely that France and NOT Iran (as hinted by some) was involved in that production moneywise or otherwise!

JERRY LEWIS "Wrote, produced, and acted in the film The Day the Clown Cried (1972) which, because of legal difficulties, has not been released as of this date (March 2009). The film is a tale of a clown in Auschwitz during WWII."
GUESS WHY THE FILM HAS NEVER BEEN RELEASED???
 The Day the Clown Cried (1972)

THE TRUTH IS THAT LUCIFERIAN SECRET SOCIETIES (ILLUMINATI), TODAY'S GODS, ARE USING TALMUDIC JUDAICS ("JEWS") FOR THE PURPOSE OF WORLD CONQUEST, ONE GOVERNMENT, ONE ARMY, ONE RELIGION, ONE BANKING SYSTEM, GLOBAL SLAVERY WITH A MICRO-CHIPPED POPULATION, AND DEPOPULATION (BY 90% OR MORE!) AS PLANNED BY THE NEW AGERS AND THEIR SATANIC ADEPTS INCLUDING THE VATICAN

Joel 3 King James Version (KJV)

For, behold, in those days, and in that time, when I shall bring again the captivity of Judah and Jerusalem,
I will also gather all nations, and will bring them down into the valley of Jehoshaphat, and will plead with them there for my people and for my heritage Israel, whom they have scattered among the nations, and parted my land.
And they have cast lots for my people; and have given a boy for an harlot, and sold a girl for wine, that they might drink.
Yea, and what have ye to do with me, O Tyre, and Zidon, and all the coasts of Palestine? will ye render me a recompence? and if ye recompense me, swiftly and speedily will I return your recompence upon your own head;
Because ye have taken my silver and my gold, and have carried into your temples my goodly pleasant things:
The children also of Judah and the children of Jerusalem have ye sold unto the Grecians, that ye might remove them far from their border.
Behold, I will raise them out of the place whither ye have sold them, and will return your recompence upon your own head:
And I will sell your sons and your daughters into the hand of the children of Judah, and they shall sell them to the Sabeans, to a people far off: for the Lord hath spoken it.
Proclaim ye this among the Gentiles; Prepare war, wake up the mighty men, let all the men of war draw near; let them come up:
10 Beat your plowshares into swords and your pruninghooks into spears: let the weak say, I am strong.
11 Assemble yourselves, and come, all ye heathen, and gather yourselves together round about: thither cause thy mighty ones to come down, O Lord.
12 Let the heathen be wakened, and come up to the valley of Jehoshaphat: for there will I sit to judge all the heathen round about.
13 Put ye in the sickle, for the harvest is ripe: come, get you down; for the press is full, the fats overflow; for their wickedness is great.
14 Multitudes, multitudes in the valley of decision: for the day of the Lord is near in the valley of decision.
15 The sun and the moon shall be darkened, and the stars shall withdraw their shining.
16 The Lord also shall roar out of Zion, and utter his voice from Jerusalem; and the heavens and the earth shall shake: but the Lord will be the hope of his people, and the strength of the children of Israel.
17 So shall ye know that I am the Lord your God dwelling in Zion, my holy mountain: then shall Jerusalem be holy, and there shall no strangers pass through her any more.
18 And it shall come to pass in that day, that the mountains shall drop down new wine, and the hills shall flow with milk, and all the rivers of Judah shall flow with waters, and a fountain shall come forth out of the house of the Lord, and shall water the valley of Shittim.
19 Egypt shall be a desolation, and Edom shall be a desolate wilderness, for the violence against the children of Judah, because they have shed innocent blood in their land.
20 But Judah shall dwell for ever, and Jerusalem from generation to generation.
21 For I will cleanse their blood that I have not cleansed: for the Lord dwelleth in Zion.


Jerry Lewis on religion and family (great except for the smoking!) and "his beautiful land of Israel" at the time of Moses!

JERRY LEWIS AT 87


Jerry Lewis Poster

Biography

Date of Birth 16 March 1926Newark, New Jersey, USA
Birth NameJoseph Levitch
NicknamesLe Roi du Crazy
Picchiatello
The King of Comedy
Height 6' (1.83 m)

Mini Bio (1)

Jerry Lewis (born March 16, 1926) is an American comedian, actor, singer, film producer, screenwriter and film director. He is known for his slapstick humor in film, television, stage and radio. He was originally paired up with Dean Martin in 1946, forming the famed comedy team of Martin and Lewis. In addition to the duo's popular nightclub work, they starred in a successful series of comedy films for Paramount Pictures. Lewis is also known for his charity fund-raising telethons and position as national chairman for the Muscular Dystrophy Association (MDA). Lewis has won several awards for lifetime achievements from The American Comedy Awards, Los Angeles Film Critics Association, and Venice Film Festival, and he has two stars on the Hollywood Walk of Fame. In 2005, he received the Governors Award of the Academy of Television Arts & Sciences Board of Governors, which is the highest Emmy Award presented.[1] On February 22, 2009, the Academy of Motion Picture Arts and Sciences awarded Lewis the Jean Hersholt Humanitarian Award.
- IMDb Mini Biography By: Anonymous

Spouse (2)

SanDee Pitnick (13 February 1983 - present) (1 child)
Patti Lewis (3 October 1944 - 27 January 1983) (divorced) (6 children)

Trade Mark (3)

Rapid one-take directing. Geeky, spastic on-screen comedy. "Laaa-dy"
Theme song: "Rock-a-Bye Your Baby (With a Dixie Melody)"
Manic, broad comedy stylings

Trivia (75)

Claims he was thrown out of high school for punching out his principal who had offended him with an anti-Semitic remark, and then went directly into vaudeville. An episode of Seinfeld (1989) makes use of plot point based on Lewis' (alleged) real-life stratagem of secretly leaving an audiotape recorder running in a briefcase he intentionally leaves behind him in meetings to see what some people may be saying about him.

Born at 12:15 pm EST.

Had open heart surgery in 1983.

Underwent surgery for prostate cancer in 1992.
Jerry took his last name from his actor-father's stage name.
He is known as a clothes horse. He gives away suits rather than having them cleaned and refuses to wear a pair of socks more than once.

He was presented the French Legion of Honor in 1984 and was nominated for the Nobel Peace Prize in 1977.

He taught a class in film at the University of California.
In 1995, he became the highest paid performer in Broadway history for his role as the Devil in "Damn Yankees".

Son of Danny Lewis.
Oldest son Gary Lewis and his soft-rock group The Playboys had several pop hits in the 1960s, including "This Diamond Ring".At the height of his recording career Gary Lewis and Jerry appeared together on NBC TV's Hullabaloo".

He and Dean Martin were the world's top box-office earners from 1950-1956. Lewis, on his own, also ruled as #1 movie draw in 1957, 1959, and 1961 to 1964!

Nominated for Nobel Prize for his 50 years raising money to fight muscular dystrophy.

First filmmaker to develop and use video-assist device on location.


Wrote 10 scripts in 10 years.

Says there is no gap between comedy and tragedy.

In Italy, Lewis has been given the nickname 'Picchiatello' (which means something like "nut" or "crazy"). At least three of his movies use the word in their Italian title: You're Never Too Young (1955) which became "Il Nipote Picchiatello" ("The Crazy Nephew"), Hardly Working (1980) ("Bentornato Picchiatello", or "Welcome Back Crazy") and Smorgasbord (The Movie) (1983)("Qua La Mano Picchiatello". pr "Shake My Hand, Crazy").

He was a big fan of 'The Catcher in the Rye' and strongly identified with the main character Holden Caulfield. He planned to direct a movie version but failed to acquire the rights from the book's famously reclusive author J.D. Salinger.

Suffers from diabetes and pulmonary fibrosis.

Children with Patti Palmer : Gary (b. 1945), Ronald (b. 1949), Scott (b. 1956), Christopher (b. 1957), Anthony (b. 1959)and Joseph (b. 1964). With SanDee Pitrick a daughter Danielle (b. 1992).
In 1969, Lewis announced an ambitious project of franchising a chain of Jerry Lewis Cinemas. A firm believer in family entertainment, he said that the one inviolate rule of the chain would be that nothing other than family-oriented films would be shown. The theaters were to be state-of-the-art, easy to operate, and franchised to individuals who could meet the chain's investment requirements. However, changing taste in popular entertainment and management problems caused the project to collapse within just a few years. Several lawsuits between Lewis and his associates were settled out of court.

The character Professor John Frink in The Simpsons (1989) is based on his role of Professor Kelp in The Nutty Professor (1963). He also did the voice of Professor John Frink, Sr in episode Treehouse of Horror XIV, segment Finkenstein. Also some of Krusty the Clown's off-stage antics are based on him.

Starred with Dean Martin on NBC Radio's "The Martin and Lewis Show" (1949-1953). They first appeared together in the films My Friend Irma (1949) and My Friend Irma Goes West (1950). The Martin & Lewis comedy team were one of a series of rotating hosts of TV's The Colgate Comedy Hour (1950).
13 October 2003 - Entered a Las Vegas hospital to kick steroids used in the treatment of his pulmonary fibrosis.

Wrote, produced, and acted in the film The Day the Clown Cried (1972) which, because of legal difficulties, has not been released as of this date (March 2009). The film is a tale of a clown in Auschwitz during WWII.
 

 
Father of six sons from his first marriage, and a daughter in his second.

Was teamed up with Dean Martin from 1946-1956.

His film class students included Steven Spielberg and George Lucas.

Sammy Davis Jr. called him the "greatest white faker" as a dancer.

Was voted the 50th Greatest Director of all time by Entertainment Weekly. Although he is at the bottom of this list, perhaps a bit shockingly, Charles Chaplin didn't even make the list.

Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945-1985". Pages 586-593. New York: The H.W. Wilson Company, 1988.

Came upon his long-time theme song, "Rock-a-Bye Your Baby (With a Dixie Melody)," by accident. In 1956 he had to cover for an indisposed Judy Garland at a performance in Las Vegas, which included singing several of her songs. His performance of "Rock-a-Bye Your Baby," using Garland's arrangement, went over so well with the audience that Lewis has used it as his theme song ever since.He had a #10 hit recording with the song in 1957 and launched a recording career.

His recording "Jerry Lewis Just Sings" (American Decca: 1956) was a best-seller, securing a place in the Top 20 on the Billboard Album Charts, launching a Top 10 single and a recording career. Biographer Arthur Marx once likened his singing to "the croaking of a parched parrot"; however, it is believed that this referred only to the singing voice of his many comic characters.

On March 20, 1965, suffered a serious back injury while performing at the Sands Hotel in Las Vegas, resulting in chronic pain. He became addicted to the prescription painkiller Percodan, but says he has been off the medication since 1978. He now uses an implant device that dulls nerve impulses and can be controlled by a hand-held remote control.

Although critics usually referred to him as "the little guy" throughout his career, Lewis was around the same height or slightly taller than Dean Martin (Dean was around 5'11'' and Jerry was 6'). To try to make himself look more diminutive next to his partner, Lewis frequently hunched and also shaved a few inches off the heels of his shoes and added them to Martin's.

Besides Dean Martin, Lewis says the closest friend he ever had was Sammy Davis Jr. Davis would call Lewis in tears at times because of the racial slurs people would say to him about his relationship with Swedish actress May Britt.

Claims to have never seen Hollywood or Bust (1956), the last film he made with his partner, Dean Martin, saying it's much too painful for him to watch.

Contrary to belief, the 1976 MDA telethon was not the first reconciliation of the legendary comedy team. In 1958,they appeared spontaneously on ABC TVs "Joey Bishop Show" and then ran off through the audience. In 1960, four years after they split, Martin & Lewis briefly reunited. Both were performing their own separate acts at the Sands hotel in Las Vegas, a club they frequently played while they were together. Lewis caught Martin's closing act and Martin introduced his former partner to the audience, bringing him on stage. For about fifteen minutes, they joked a bit and sang a duet of "Come Back to Me". Unfortunately, the reunion was only a one time thing. Later when Lewis was too exhausted to perform his act, Martin generously replaced him.

Encouraged Christopher Walken to act. Walken met Lewis while he was on The Colgate Comedy Hour (1950) and Lewis suggested to the young boy that he pursue a career in show business.

Norman Lear (creator of All in the Family (1971)) co-wrote many of Martin & Lewis' The Colgate Comedy Hour (1950) shows.

Says his favorite Martin & Lewis film is The Stooge (1952) because "...it came closest to capturing what Dean and I had as a team".

Some have said that if Lewis hadn't pursued a career in show business, he would have been a professional baseball player for the Dodgers. He played with the team a few times at charity events and was apparently very good.

Was best friends with Tony Curtis and Janet Leigh. They starred in Lewis' home movies after Curtis complained about the parts he was being offered by his studio.

Was close friends with comic Lenny Bruce.

Was offered the role of Jerry/Daphne in Some Like It Hot (1959), directed by his friend Billy Wilder. He declined because he didn't want to dress in drag. The part, of course, eventually went to Jack Lemmon and he received an Oscar nomination for his performance. Lewis says that Lemmon would send him chocolates every year to thank him and he now regrets not taking the role.

Diagnosed with pulmonary fibrosis in 2001.

Pronounced clinically dead from a massive heart attack in December 1982, after completing The King of Comedy (1982) with Robert De Niro.

Society of Operating Cameramen, (SOC) Honorary Member(1981) Lewis was honored for his contribution and development the first "Video Assist" for the motion picture camera in 1966. This allowed him to view his performance while directing himself in his films. This is used extensively today in filmmaking, known as "Video Village."

Collapsed at a London show in September 2002.

Is portrayed by Sean Hayes in Martin and Lewis (2002)

He and Dean Martin recorded a radio spot endorsing a product,"Tuck Tape", an alternative brand of "Scotch Tape" and noticing the recording tape for the commercial was still rolling, decided to improvise additional radio spots, with Jerry slipping profanities into his dialog. The unedited master recording was surreptitiously taken from the studio and made into a "bootleg" record that sold briskly among collectors.
For his 80th birthday in 2006, he was given a medal and induction into the Legion of Honor by France, given the honorary title of "Legion Commander." He apologized for not speaking French at the ceremony but said that "even if the French people cannot hear my language, they have always heard my heart."

Lewis changes white sweatsocks several times a day, always putting on a brand-new pair, and he gives the used ones to charity.

Jerry suffered a minor heart attack on June 11, 2006 which caused him to postpone his comeback in Las Vegas

Suffered a mild heart attack on the flight home to San Diego on June 11, 2006.


He was nominated in the inaugural 2007 New Jersey Hall of Fame for his services to entertainment and to charity.

His idol is Al Jolson.

He was elected into the 2008 New Jersey Hall of Fame for his services to Arts and Entertainment and charity.

Was one of the co-hosts of what may have been the only Academy Awards ceremony that actually ended earlier than expected, by almost twenty minutes - The 31st Annual Academy Awards (1959). He and several other celebrities gallantly tried everything they could to improvise and fill the extra time. NBC mercifully cut the broadcast short to air a short film about target shooting until the next scheduled program began, which in most cases was the local news.

Has two stars on the Hollywood Walk of Fame. His star for movies is at 6801 Hollywood Blvd. His star for television is at 6150 Hollywood Blvd.

Patti Lewis (aka Patti Palmer) was his first wife's stage name. Her birth name was Esther Calonico. When Jerry Lewis first met her in Detroit in August 1944, she was a singer with Ted Fio Rito and his Orchestra. Shortly thereafter, she joined Jimmy Dorsey and his Orchestra.

Lewis always wore tiny lady's sized wristwatches, usually made by Cartier. They are easy to spot in all of his films.

As a young Catskill comic recorded "I Love A Murder Mystery", a speaking novelty record, in the early 1940s.

In 1956, in an attempt to dispel rumors of their impending breakup, Dean Martin and Jerry performed "Side by Side" (We Ain't Got A Barrel of Money) on one of the last of their many appearances on their variety show, NBC-TVs The Colgate Comedy Hour (1950).

He once played first base in an exhibition game for 5 innings for the Houston Astros .

His classic character "Julius Kelp" from The Nutty Professor (1963) was cleverly parodied by Joe Piscopo in 1984, on Joe's self-titled HBO TV Special.

Twice voted Best Foreign Director by the French film critics.

An acclaimed chronicle of the Martin and Lewis partnership, "Everybody Loves Somebody Sometime (Especially Himself): The Story of Dean Martin and Jerry Lewis" by Arthur Marx was published by Hawthorne in 1974.

Was good friends with president John F. Kennedy.

While filming Cinderfella (1960), he suffered a mild heart attack immediately after running up the stairs and was in an oxygen tent at Mount Sinai hospital 30 minutes later. He ran up 66 steps in 8 seconds.

Is a registered Republican.

Commendably hosted this year's Muscular Dystrophy marathon, but shocked audiences with his bloated and infirm appearance, due to treatment for a pulmonary illness.

Released his memoir, "Dean and Me: A Love Story", about his friendship with Dean Martin.
Cannes, France: The annual Film Festival is officially paying an 'homge' tribute to Lewis and his life's work with a screening of his latest film _Max Rose (2011)_. [May 2013]

Personal Quotes (13)

[looking back on more than 60 years in show business] I was about as discreet as a ... bull taking a piss in your living room.

I think I really wanted to write my biography more to be able to mention that [John F. Kennedy] and I were friends than anything else.

Going unnoticed has never been my strong suit.

Other comedy teams never generated anything like the hysteria that [Dean Martin] and I did, and that was because we had that X factor--the powerful feeling between us. And it really was an X factor, a kind of mystery.

I shall pass through this world but once. Any good, therefore, that I can do or any kindness that I can show to any human being, let me do it now. Let me not defer nor neglect it, for I shall not pass this way again!
[2000] I don't like any female comedians. Seeing a woman in comedy sets me back a bit . . . I think of her as a producing machine that brings babies into the world.

I'm a multi-faceted, talented, wealthy, internationally famous genius. I have an IQ of 190 -- that's supposed to be a genius. People don't like that. My answer to all my critics is simple: I like me. I like what I've become. I'm proud of what I've achieved, and I don't really believe I've scratched the surface yet.

The kids who're on American Idol (2002), they're all McDonald's wipeouts.

Actors will kill for you if you treat then like human beings. You have to let them know you want them and need them, pay them what they want, but don't overpay them; treat them kindly. Give an actress a clean dress and see that she gets fresh coffee in the morning and other little spoon feedings. She will kill for you.
I get paid for what most kids get punished for.

The doc told me I had a dual personality, then he lays an $82 bill on me. So I give him forty-one bucks and say 'Get the other forty-one bucks from the other guy'.

Every man's dream is to be able to sink into the arms of a woman without falling into her hands.

[on Stan Laurel] His magic was, he loved the regular man. He loved plain people, and he loved being one of them. He enjoyed participating in the art of going out into the world and getting in trouble.

Jump to: Overview (4) | Mini Bio (1) | Spouse (2) | Trade Mark (3) | Trivia (75) | Personal Quotes (13)

Overview (4)

 

"The Day the Clown Cried" Making Of Footage (With Subtitles!)

Published on 10 Aug 2013
Higher Quality: http://www.youtube.com/watch?v=biUVaf...

Amazing RARE behind the scenes footage of Jerry Lewis' infamous unreleased 1972 drama, "The Day the Clown Cried" WITH SOUND as chronicled by a Flemish program! This is the closest we can get so far to the actual film! I apologize for the poor picture quality.

Turn on annotations for the English subtitles. A very special thanks to Filip Vandueren for the wonderful translations!

New, awesome and informative interview with Jerry about the film! http://www.aintitcool.com/node/63765

Jerry Lewis's Infamous The Day the Clown Cried Finally Surfaces Online

Danny Martindale/WireImage Jerry Lewis
At the end of last week, a Flemish-language website unearthed and posted some previously unseen behind-the-scenes footage from one of the most infamous suppressed films of all time. The movie is The Day the Clown Cried, a completed-in-1973 comedy-drama directed by and starring Jerry Lewis as a German circus performer who entertains the children of Auschwitz during World War II.
Yes, that Jerry Lewis, and yes, that Auschwitz. The Day the Clown Cried is reportedly a very, very bad movie, undone by the fundamental incompatibility of its subject matter and the persona of its director/star, who wanted to make a serious tragicomedy about genocide but could not resist changing the protagonist’s name from “Karl Schmidt” to “Helmut Doork.” Lewis apparently agrees. He’s never allowed Clown to be released or publicly exhibited, not even in France. And at a live Q&A in Los Angeles earlier this year he admitted he was “embarrassed” by the finished product. “I was ashamed of the work,” he said, “and I was grateful that I had the power to contain it all, and never let anybody see it. It was bad, bad, bad … It’ll never be seen.”
This is as good-sportish as Lewis can really be about Clown. When you’ve made a bad movie, you can admit to its badness and possibly participate in its re-estimation as kitsch. You can take your lumps and accept your Razzie in person and demonstrate an ability to laugh at your own mistakes. That avenue’s not really open to people who’ve made a bad film about one of modern history’s most horrific mass murders, one that ends (as scripted) with the sound of children’s laughter echoing off the walls of a gas chamber. Lewis can’t go on a podcast and explain that, because no explanation would be satisfactory. It is not a good look to be in on the joke when the joke is you accidentally trivializing the Holocaust.
“[Lewis] reportedly keeps [a copy of the rough cut] in his office,” Bruce Handy wrote in a 1992 Spy article about the film, “protected from harm and unclassiness by a Louis Vuitton briefcase.” Handy also quotes journalist Lynn Hirschberg (who says Lewis screened parts of the film for her during a Rolling Stone interview years ago, and turned cold when she admitted she hadn’t enjoyed it) and Simpsons voice actor and This Is Spinal Tap star Harry Shearer, whose account of his experience is the stuff that cults are made of:
With most of these kinds of things, you find that the anticipation, or the concept, is better than the thing itself. But seeing this film was really awe-inspiring, in that you are rarely in the presence of a perfect object. This was a perfect object. This movie is so drastically wrong, its pathos and its comedy are so wildly misplaced, that you could not, in your fantasy of what it might be like, improve on what it really is. ‘Oh, my God!‘ — that’s all you can say. …
The closest I can come to describing the effect is if you flew down to Tijuana and suddenly saw a painting on black velvet of Auschwitz. You’d just think, My God, wait a minute! It’s not funny, and it’s not good, and somebody’s trying so hard in the wrong way to convey this strongly held feeling.
Although the movie remained virtually unseeable, the script was easy to obtain via mail order. By the late ’90s, comic Patton Oswalt was hosting staged readings of Clown at clubs in Los Angeles and New York, with Mr. Show’s Jay Johnston as the clown and future stars like David Cross, Will Arnett, Stephen Colbert, and Jack McBrayer in supporting roles. (According to a message board, at one of these performances, Fred Willard played a death camp commandant and delivered all his lines in the voice of Begbie from Trainspotting.)
In 1997, the movie’s producer, Michael Barclay, showed up to a Clown event in L.A. with a cease-and-desist order; that same year, the Italian comic actor Roberto Benigni wrote, directed, and starred in the Academy Award–winning Life Is Beautiful, a tragicomedy about a father and son who laugh their way through life in a concentration camp. “I hate to say this about another comedian,” Shearer told Spin’s Bowman Hastie in 2001, “but Jerry’s timing was off.”
How bad could it be? The new Clown footage (embedded below; it made its way to YouTube over the weekend, and is still there at this writing) doesn’t really answer that question. Aside from a few shots of Lewis mugging in clown makeup (straining to light a cigarette with a trick candle, etc.), we see nothing from the actual film. It’s mostly Lewis — who was in the throes of a 13-year addiction to the prescription painkiller Percodan at the time, and looks haggard — playing the role of serious, dedicated auteur.
Here’s Lewis consulting his painstakingly annotated copy of the script, operating a reel-to-reel tape machine, and carefully applying his own clown makeup in the mirror! Here are Lewis’s good friends Serge Gainsbourg and Jane Birkin — who despite rumors to the contrary probably did not act in the film — smiling as if they aren’t watching one of movie history’s greatest train wrecks in progress! Only the Flemish narration (helpfully translated by a YouTube commenter) under a montage of Lewis attempting to juggle four balls at once hints at discord: “A funny moment can be very cumbersome to produce. Things will go wrong shortly, and you can hear that Jerry isn’t happy about this.”e Day The Clown Cried: Jerry Lewis Anwers THE Question

Jerry is simply not telling the truth!

http://www.youtube.com/watch?v=LEMSgRytNZ0&feature=youtu.be

WIKIPEDIA

The Day the Clown Cried is an unreleased 1972 film directed by and starring Jerry Lewis. It is based on a script of the same name[1] by Joan O'Brien, who had co-written the original script with Charles Denton ten years previously.[2] The film was met with controversy regarding its premise and content, which features a circus clown who is imprisoned in a Nazi concentration camp. The Day the Clown Cried has become somewhat infamous among film historians and movie buffs as a film that has never officially been released.

Plot

Lewis plays a washed-up German circus clown named Helmut Doork during the beginning of World War II and the Holocaust. Although he was once a famous performer who toured America and Europe with the Ringling Brothers, Doork is now past his prime and receives little respect. After causing an accident during a show, the main clown convinces the circus owner to demote him. Upon returning home, he confides his problems in his wife Ada, and she encourages him to stand up for himself. Helmut overhears the circus owner agreeing to fire him after the main clown issues an ultimatum. Helmut is distraught. He is arrested later by the Gestapo for ranting about Germany and drunkenly mocking Adolf Hitler in a bar. Following an interrogation at the Gestapo headquarters, he is imprisoned in a Nazi camp for political prisoners. For the next three to four years, he remains there while hoping for a trial and a chance to plead his case.
He tries to maintain his status among the other inmates by bragging about what a famous performer he once was. His only friend in prison is a good-hearted German named Johann Keltner, whose reason for being interned is never fully revealed but is implied to be his outspoken opposition to the Nazis. The camp receives a large group of Jewish prisoners, including several children. The other prisoners goad Doork into performing for them, but he does not realize he actually is not very good. The other prisoners beat him up and leave him in the courtyard to sulk about his predicament. He sees a group of Jewish children laughing at him from the other side of the camp, where the Jewish prisoners are being kept away from everyone else. Delighted to be appreciated again, Helmut performs for them and gains an audience for a while, until the new prison commandant orders that he stop.
Helmut learns that fraternizing with Jewish prisoners is strictly forbidden. Unable to leave the children in a state of unhappiness, he continues to perform for them. The SS guards break up one of his performances; they knock him unconscious and warn the children away from the barbed-wire fence. Horrified, Keltner fights off one of the guards, but he is quickly cornered and beaten to death. Doork is placed in solitary confinement. Seeing a use for him, the commandant assigns him to help load Jewish children on trains leading out of the internment camp, with the promise his case will be reviewed. By a twist of fate, he ends up accidentally accompanying the children on a boxcar train to Auschwitz, and he is eventually used, in Pied Piper fashion, to help lead the Jewish children to their deaths in the gas chamber.
Knowing the fear the children will feel, he begs to be allowed to spend the last few moments with them. Leading them to the "showers", he becomes increasingly dependent on a miracle, but there is none. He is so filled with remorse that he remains with them. As the children laugh at his antics, the movie ends.

Cast

Production

In 1971, while performing at the Olympia Theatre, Lewis met with producer Nathan Wachsberger, who offered him the chance to star in and direct the film with complete financial backing from his production company and Europa Studios. Before he had been given the offer, several stars such as Bobby Darin, Milton Berle and Dick Van Dyke were also approached, but declined. Lewis was initially reluctant to take the role, especially after reading the script, stating in his autobiography Jerry Lewis in Person, "The thought of playing Helmut still scared the hell out of me". In addition, he felt that he was wrong for the part, due to the strong subject matter. He asked Wachsberger:
Why don't you try to get Sir Laurence Olivier? I mean, he doesn't find it too difficult to choke to death playing Hamlet. My bag is comedy, Mr. Wachsberger, and you're asking me if I'm prepared to deliver helpless kids into a gas chamber? Ho-ho. Some laugh — how do I pull it off?
— Jerry Lewis
After re-reading Joan O'Brien and Charles Denton's first draft, Lewis felt that he would be doing something worthwhile in portraying the horrors of the Holocaust. He immediately signed on to the project, but, in order to make it, he first had to arrange to perform at Caesars Palace in Las Vegas for a month, in order to fulfill the terms of his contract with the hotel. In February 1972, he toured the remains of Auschwitz and Dachau concentration camps and shot some exterior shots of buildings in Paris for the film; all the while reworking the script. He lost thirty-five pounds in six weeks by eating nothing but grapefruit.[3]
Principal photography on the film began in Sweden during April 1972, but the shoot was beset by numerous problems.In an article published online on October 30, 2010 at mondo-video.com, cast members working on the film with Lewis reported his on-set personality as "distracted, nervous and preoccupied with money". Film equipment was either lost or delivered late, and the necessary money was nowhere in sight. Lewis was repeatedly assured that money was forthcoming by Wachsberger, who did not appear at all on set.
Wachsberger not only ran out of money before completing the film, but his option to produce the film expired before filming began. He had paid O'Brien the initial $5,000 fee, but failed to send her the additional $50,000 due her prior to production. Lewis eventually ended up paying production costs with his own money to finish shooting the film, but the parties involved in its production were never able to come to terms that would allow the film to be released. After shooting wrapped, Lewis announced to the press that Wachsberger had failed to make good on his financial obligations or even commit to producing. Wachsberger retaliated by threatening to file a lawsuit of breach of contract and stated that he had enough to finish and release the film without Lewis. Wanting to ensure the film would not be lost, Lewis took a rough cut of the film, while the studio retained the entire film negative. In January 1973, Lewis stated publicly that the film was in final production, it had been invited to the Cannes Film Festival in May, and it would be released in America after that.[4]

Criticism and changes

Although never seen publicly, the film became a source of legend almost immediately after its production. In May 1992, an article in Spy magazine quotes comedian and actor Harry Shearer, who saw a rough cut of the film in 1979:
With most of these kinds of things, you find that the anticipation, or the concept, is better than the thing itself. But seeing this film was really awe-inspiring, in that you are rarely in the presence of a perfect object. This was a perfect object. This movie is so drastically wrong, its pathos and its comedy are so wildly misplaced, that you could not, in your fantasy of what it might be like, improve on what it really is. "Oh My God!" — that's all you can say.
—Harry Shearer, Spy Magazine, 1992[5]
Shearer also goes on to point out why Lewis would make the film: he believed "the Academy can't ignore this". When asked to sum up the experience of the film overall, he responded by saying that the closest he could come was like "if you flew down to Tijuana and suddenly saw a painting on black velvet of Auschwitz. You'd just think 'My God, wait a minute! It's not funny, and it's not good, and somebody's trying too hard in the wrong direction to convey this strongly-held feeling."
The article quoted Joan O'Brien as saying the rough cut she saw was a "disaster"; it also says she and the original script's other writer, Charles Denton, will never allow the film to be released, in part due to changes in the script made by Lewis which made the clown more sympathetic and Emmett Kelly-like. In the original script, the protagonist was an arrogant, self-centered clown named Karl Schmidt, who was "a real bastard", according to O'Brien. Her script reportedly had him trying to use his wife, who knew the ringmaster, to get him a better gig, and he apparently informed on nearly everyone he knew after being interrogated for mocking Hitler. She stated that the original draft was about the redemption of a selfish man, but that Lewis practically changed the entire story into a Chaplinesque dark comedy à la The Great Dictator.
Lewis offered the opinion that it was all bad, an artistic failure because "I lost the magic". Quoted in Entertainment Weekly: "You will never see it. No one will ever see it, because I am embarrassed at the poor work."[6]
On the other hand, a more upbeat assessment is offered by the Jerry Lewis official museum website: "The film has been tied up in litigation ever since, and all of the parties involved have never been able to reach an agreeable settlement. Jerry hopes to someday complete the film, which remains to this day, a significant expression of cinematic art, suspended in the abyss of international litigation".[1]

Later events

Jim Wright revealed to the press his plan to produce a new version of The Day the Clown Cried, and he mentioned he had Richard Burton in mind for the title role. Despite major buzz about the project, nothing concrete came out of the planning stages. By 1991, producer Michael Barclay announced that he and Tex Rudloff (apparently with the help of Washington lobbyist Jack Abramoff[7]) were preparing a joint production of Clown with the Russian film studio Lenfilm. Allegedly, Robin Williams had been offered the leading role and given a copy of the script. Jeremy Kagan, who made The Chosen, reportedly was slated to direct the film, but once again the idea was dropped before it was officially greenlit. In 1994, William Hurt was considered to play the role, but nothing came to fruition.
Discussion of the film in the mainstream press was rekindled in the late 1990s due to the release of two films with similar themes, Life Is Beautiful in 1997 and the remake of Jakob the Liar in 1999.[8][9] The latter starred Robin Williams, whose name had previously been attached to the planned remake. The 2009 film Adam Resurrected, adapted from Yoram Kaniuk's 1968 novel of the same name, has also drawn comparisons.[10]
In 2001, a man mentioned the film to Lewis during one of Lewis' motivational speeches, indicating that the man had heard the film might be eventually released. Lewis replied to this comment with "None of your goddamn business!"[11] The same year, Lewis responded to a reporter's faxed request for information about the movie by calling and telling him: "As far as discussing [the movie], forget it! If you want to see any of it, forget it!"[12]
On January 12, 2013, Lewis appeared at a Cinefamily Q&A event at the Los Angeles Silent Movie Theatre. He was asked by actor Bill Allen, "Are we going to ever gonna get to see The Day the Clown Cried?" Lewis replied in the negative, and explained the reason the movie would never be released was because "...in terms of that film I was embarrassed. I was ashamed of the work, and I was grateful that I had the power to contain it all, and never let anyone see it. It was bad, bad, bad...But I can tell you how it ends."[13]
Later that year at Cannes while promoting Max Rose, Lewis was asked about The Day the Clown Cried and said, "It was bad work. You'll never see it and neither will anyone else."[14]
On April 9, 2012, Flemish public service broadcaster VRT re-released—on its cultural website Cobra.be—a film piece its predecessor BRT had aired 40 years earlier to the day on the film show Première-Magazine. It includes behind-the-scenes footage shot in a Paris circus and some takes with sound from the film.[15]
On July 18, 2012, French film director Xavier Giannoli stated on the France Inter film show Pendant les travaux, le cinéma reste ouvert that he had managed to track down a 75-minute copy of the film and that he had shown it to a number of people, among whom noted French film critic Jean-Michel Frodon.[16]

See also

Notes

  1. "The Official Jerry Lewis Comedy Museum and Store". Jerry Lewis Comedy Classics. Jerry Lewis Comedy Classics. Retrieved 3 August 2012.
  2. O'Brien, Joan, original story idea; Denton, Charles; Lewis, Jerry, Additional Material. "The Day the Clown Cried - Daily Script". Retrieved August 12, 2013.
  3. Lewis, Jerry (1982). Jerry Lewis in Person. New York: Pinnacle Books. p. 281. ISBN 0-523-42080-3.
  4. Jerry Lewis interview first aired January 27, 1973, "The Dick Cavett Show – Comic Legends" DVD, Shout Factory Theatre.
  5. http://books.google.com/books?id=bsf3-GfE_JoC&lpg=PA42&dq=the%20day%20the%20clown%20cried&pg=PA40#v=onepage&q&f=false
  6. Enk, Bryan. "Watch Jerry Lewis in Newly-Surfaced Footage of 'The Day the Clown Cried'". Yahoo news. Retrieved August 12, 2013.
  7. "The Clown, Still Crying". Looker. June 6, 2006. Retrieved June 13, 2012.
  8. "Life is beautiful". Film Vault. Retrieved June 13, 2012.[dead link]
  9. "Jakob the Liar". Austin Chronicle. Retrieved June 13, 2012.
  10. Leigh, Danny (2008-08-03). "Hollywood Beware Clowns". Film blog (London: The Guardian). Retrieved June 13, 2012.
  11. "Hit & Run 5/31/01". Suck.com. Retrieved June 13, 2012.
  12. Always Leave 'Em Laughing. SPIN. Retrieved March 4, 2013.
  13. "The Day The Clown Cried: Jerry Lewis Answers THE Question". Sherman Allen, YouTube. Retrieved April 13, 2013.
  14. "Child actor, 87, takes Cannes by storm". Globe and Mail. May 24, 2013. Retrieved May 24, 2013.
  15. "Op 9 april 1972 zond de VRT dit uit" (in Dutch). VRT. April 9, 2012. Retrieved November 21, 2013.
  16. "De quoi les images sont-elles coupables ? De "Blow up" à "Blow out"" (in French). Pendant les travaux, le cinéma reste ouvert. July 18, 2012. Timecode: 03:40–05:36. France Inter.

External links

THE ORIGINAL SCRIPT by Joan O'Brien, who had co-written the original script with Charles Denton ten years previously

 THE DAY THE CLOWN CRIED 
 ORIGINAL SCREENPLAY 
 By 
 JOAN O'BRIEN 
 And 
 CHARLES DENTON 
 Based on a Story Idea by 
 JOAN O'BRIEN 
 Additional Material by Jerry Lewis

 I TOOK A CHILD BY THE HAND... 
 TO LEAD HIM ON HIS WAY. 
 I TOLD HIM OF THE LOVE OF GOD... 
 AND TAUGHT HIM HOW TO PRAY. 
 AND AS I SEARCHED FOR BETTER WAYS HIS GUIDE AND HELP TO BE... 
 I FOUND, AS WE WALKED HAND IN HAND, THAT HE WAS LEADING ME. 
 "THE DAY THE CLOWN CRIED"

        COLD OPENING

 EXT. PARIS CIRCUS - NIGHT

 The normal activity and excitement of showtime around the 
 circus is in evidence where we see the half dark street and 
 alley directly adjacent to the circus tent which (in Paris 
 is an enclosure)... the animals, the midgets, the people and 
 the roustabouts moving with a fixed speed and getting faster 
 as we now know showtime is momentarily due.

 We MOVE TOWARD the action, slowly but definitely picking up 
 SOUNDS and actions of the busy people as we go.

          STRAIGHT CUT TO:

 EXT. CIRCUS - FRONT OF CIRCUS - PEOPLE ENTERING - NIGHT

 We see barkers, children, people, pushing... buying tickets, 
 hats, candy... SOUNDS of children laughing, MUSIC playing 
 from o.s. within the tent area... and we...

           CUT TO:

 EXT. BACK OF CIRCUS - NIGHT

 A continuation of the animals, trainers, clowns INTERCUT 
 with the action of the circus customers jamming the 
 entranceway to get in... (complimented CUTS from backstage 
 to out front... building to the final crescendo... as we see 
 the alley empty and clear out vs. the front area clearing 
 and also becoming empty.)

          DISSOLVE TO:

 INT. CIRCUS PROPER - NIGHT

 The fully dressed orchestra playing the oncoming people to 
 their respective seats as we PAN ALONG the happy faces and 
 excited children... DOWN and BACK within the circus backstage 
 and SLOWLY COME TO A STOP OUTSIDE: "CLOWN ALLEY".

 CLOWN ALLEY - NIGHT

 The heartbeat of any circus... The long row of unkempt, yet 
 beautifully neat trunks where the clowns make up, with many 
 of the clowns just coming in and setting their clothes and 
 things around their own little areas... midgets running and 
 playing, like the little children they are about to 
 entertain... MUSIC is in the deep background... as we COME 
 TO A STOP at the large trunk with the letters clearly printed 
 ...'GUSTAV - EUROPE'S PREMIER CLOWN."

 We PULL BACK and AWAY from the lettering on the trunk and 
 REVEAL the face of a gentle but drawn man, a man whose body 
 and movements indicate he has been at this for a long time.  
 As he sits, the little midgets run close to see what they 
 can do to help; one pulls the chair for him to sit on; another 
 brings a hot cup of coffee; another takes his coat and hangs 
 in on the hattree, adjacent to his trunk... as we PUSH PAST 
 HIM to introduce the other clowns... some half made up, others 
 finishing their make-up... and some just sitting and rapping 
 together, smoking, drinking coffee, waiting for showtime... 
 and in the very distant b.g., almost against the wall of 
 clown alley, we see the trunk and the body of a "CLOWN" in 
 silhouette... we CRAWL TOWARDS the body and the trunk... and 
 COME TO A STOP... HOLDING FULL FRAME.  The clown, already 
 made-up and dressed in his tramp outfit, has his head in his 
 hands, leaning down on the trunk table top, a depressed and 
 sad looking hulk of a man... an o.s. voice:

      MIDGET
  Coffee?  It's nice and hot.

 The MIDGET slides the cup in front of the clown's face... as 
 he picks up his head and smiles and nods yes... he sips the 
 coffee and we see the clown is HELMUT DORQUE (pronounced 
 Doork).

 He is a depressed and very unhappy clown... the frown on his 
 face shows years of knocking around... plus fear that those 
 years are now over.  From o.s. we HEAR the SOUND of a small 
 air horn being blown and carried by one of the midgets.  He 
 is yelling through an old megaphone.

      MIDGET
  15 Minutes to circus... 15 minutes 
  to circus.

 Upon hearing this, "Clown Alley" really gets busy... all the 
 clowns get up and put their last minute touches together... 
 touching up their make-ups... getting their coats and props 
 together... and as they get themselves up and ready, they 
 exit the clown alley area and start for the arena.  The last 
 one to go is Helmut, lingering behind intentionally as we:

           CUT TO:

 INT. CIRCUS ARENA - CLOSEUP RINGMASTER - NIGHT

      RINGMASTER
  Ladies and gentlemen, we proudly 
  present... "The Clowns"!

 INT. CLOWN ALLEY - NIGHT

 Helmut hangs back until the very last clown exits Clown Alley, 
 as we:

           CUT TO:

 INT. CIRCUS PROPER - NIGHT

 The MUSIC is really going strong... and the clowns come on 
 like all forty.  They explode in the ring... doing all their 
 bits and pieces which ultimately brings them back to the 
 entrance area they just came from and they make the "West 
 Point" arch for the TIMPANI DRUM ROLL and the grand entrance 
 of "Gustav" the Great.

 CLOSER SHOT

 "Gustav" makes his famous comedy walk into the tent with the 
 longest pair of tails ever seen (at least 75 feet long) and 
 at the end holding them from dragging on the floor is Helmut, 
 the "Tramp Clown".

 WIDER SHOT

 We see Gustav taking the applause, and it is tremendous.  He 
 stops center of the ring, but Helmut keeps walking and doesn't 
 see the post in front of him as he walks around the post, 
 still holding the tails and goes on his butt, pulling Gustav 
 down as well.  The audience screams with laughter, believing 
 this all part of the act, as we:

          DISSOLVE TO:

 INT. CLOWN ALLEY - NIGHT

 All the clowns are sitting around their respective trunks 
 and there is a sense of gloom permeating the air, as Gustav 
 and MR. SCHMIDT pace back and forth behind Helmut, both going 
 at him unmercifully.

      MR SCHMIDT
   (in the middle of his 
   tirade)
  Not to mention how unprofessional 
  that was...

      HELMUT
  But it was an accident...

      GUSTAV
  Oh, sure it was... A very well planned 
  and calculated accident!

      HELMUT
  I swear to you... it was an accident!

 Gustav stops and grabs Schmidt's arm, and with a threatening, 
 pointing finger...

      GUSTAV
  I don't want to hear any more...  
  You will get me another stooge. I 
  don't want this man!!

      SCHMIDT
  Don't get excited, Gustav, you shall 
  have it.

      GUSTAV
  You bet I will, or you shall have no 
  show.

 Gustav walks away, sits at his trunk, starts taking his make-
 up off.

      SCHMIDT
   (moving to Helmut's 
   trunk, leaning over 
   into Helmut's ear)
  You will run with the other clowns 
  and that's all you will do... is 
  that clear?

 Helmut, shattered, nods his head yes.

      SCHMIDT
   (continuing)
  And if there is another one of your 
  cute tricks... I promise you will do 
  your bits for the "Cats" while 
  cleaning their cages!

 Schmidt walks away... leaving Helmut stunned and shocked.  
 Helmut lifts his trunk cover, which opens on a hinge and 
 stays upright, as we SLOWLY CRAB AROUND to REVEAL the "One 
 Sheets" glued to the inside of the trunk lid... as Helmut 
 reaches for a towel to clean his face, we read:

     RINGLING BROS. & BARNUM AND BAILEY

     PRESENTS

    THE WORLD'S GREATEST CLOWN "HELMUT"

     SCHMIDT

        From Germany

 The one sheets are battered and torn and certainly appear to 
 be many years old.  As we PAN the "Lid" to see them all, 
 Helmut's face is reflected in the mirror as we see the tears 
 rolling down his face.  As we FREEZE FRAME, MUSIC hits for:

 MAIN TITLES:

 THE DAY THE CLOWN CRIED

 FOLLOWING CREDITS:

 EXT. DESERTED STREET AND BISTRO - NIGHT

 Helmut, dejected and as sad as any man could be, strolls 
 down the deserted street, alone.

 INT. BISTRO

 He comes to a small bistro and walks in... stands at the 
 bar.

      HELMUT
  Clause... give me a double whiskey 
  with beer chaser.

      CLAUSE
   (who knows him)
  You won't get "Funny" out of a bottle.

      HELMUT
  And you won't make a dime sticking 
  your nose in other people's business.

 Clause pours the whiskey, and places the beer next to it; as 
 Helmut gulps the drink down and chases it with the beer from 
 the bottle... we:

          STRAIGHT CUT TO:

 INT. THE APARTMENT - NIGHT

 Standing at the window looking out is a beautiful WOMAN, 
 simply dressed, no make-up and clean; she has the look of a 
 woman who has just bathed and one could almost smell the 
 fragrance of bath oil on her body.  She is tense and 
 concerned.

 She sees something and moves toward the door and opens it.  
 There is a beat and finally the o.s. SOUNDS of feet scuffling 
 get to the door.  It is Helmut, fairly crocked at this point.

      ADA
  Helmut, darling, are you all right?

      HELMUT
   (nastily)
  Do I look like I'm not all right?

      ADA
  I was so worried about you...  Your 
  dinner is cold and I couldn't imagine 
  what happened to you...

      HELMUT
  Were you really worried about me or 
  your stupid dinner was getting cold?

 Ada is hurt by this, but knows something is really chewing 
 away at him... and deals with it even more tenderly, which 
 only digs in deeper on Helmut.

      ADA
  Sweetheart, I care about you...  I 
  love you... I worry about you...  I 
  can't help those feelings...

 During the above Helmut is at the small bar in the living 
 room pouring another "blast" and gulps it down... he hears 
 the words but tries to ignore them.

      HELMUT
  If there is anything I don't need 
  right now... it's your super-
  sentimentality...

 He flops down in the armchair and stares straight ahead... 
 Again, Ada is hurt by his blasting her, but she's wise enough 
 to know this isn't the man she loves... she has to get what's 
 eating him out of there.

      ADA
  Helmut... what's tormenting your 
  soul?  Please let me help you... 
  talk to me...  I don't care what it 
  is... I love you...  I'm your 
  friend... you can trust me to 
  understand...

      HELMUT
  I can't trust anybody... I don't 
  know how to trust anybody...

      ADA
  I'm not anybody!  I'm your wife!

 Helmut, hearing these words, looks up at her and sees the 
 beauty in her eyes, and he is affected by this.  He stands 
 up and takes her in his arms... almost breaking her in two.

      HELMUT
  I'm sorry, my love... I'm so sorry...
  You're right!  You're not anybody.  
  You're my wife and I love you, too...
  So very much I just have no one to 
  fight back at... I'm lost and alone,  
  I can't handle the disgrace of 
  failure... the pain of being a has-
  been is more than I can bear...

 Ada knows now what's happened.

      ADA
  Schmidt again?  Gustav again?  When 
  will you learn they fear you and 
  they know how vulnerable you are 
  now...  if they can beat you down 
  then they needn't worry about you 
  coming back to haunt them.

      HELMUT
  They worry about me?  Don't be 
  ridiculous...  they just took the 
  last comic bit away from me... because 
  of a silly accident...  I'm now down 
  at the bottom, just a stooge assisting 
  a not-so-funny clown.

      ADA
  But they can't take your talent 
  away...  That's your strongest force!

 Walking away from her, getting angry again...

      HELMUT
  What the hell are you talking about?
  What talent?  And if I had any it's 
  being suffocated into nothing...  
  And that's just what I am now...  
  nothing... No one... just empty...  
  a prop to be used and mis-used...  
  how does my great talent stand up to 
  those odds?

      ADA
  By not quitting... You must fight!  
  Creative survival is even more 
  difficult than human survival...  
  You must fight!!!

 Helmut gets quiet and listens, and it makes sense... Ada 
 knows she's got him now.

      ADA
   (continuing)
  Go to Schmidt... Force a 
  confrontation...  Don't let Gustav 
  win...  make Schmidt see what an 
  injustice they are imposing on you...  
  Please, my love, fight!  Make your 
  world better by fighting for it...  
  You can do it... I know you can...

 Helmut hears it all and it sounds so good and right.

      HELMUT
  I will go now and see Schmidt...
  I will tell him I won't take any 
  more degradation... I will tell him 
  I am a "clown" not a stooge...  A 
  "clown"... A special person...  A 
  special clown...

 Ada happily gets his hat.

      ADA
   (placing the hat on 
   his head)
  Go, my love... Go and fight for what 
  you know is right... I will warm 
  your dinner and wait for you to come 
  home.

 She kisses him, opens the door for him and he goes.

          DISSOLVE TO:

 INT. THE EMPTY CIRCUS - NIGHT

 The low key light and the silence of the circus is almost 
 ominous and a little frightening for Helmut as he walks across 
 the empty arena... with a small light burning from up high.  
 All the equipment is tied off.  Slight ANIMAL SOUNDS in the 
 deep background... and the faintest SOUND of circus music is 
 heard.  Helmut is now center of the main ring and stops and 
 looks around.

 HIS POV - THE EMPTY STANDS

 CLOSE SHOT - HELMUT

 His face tense, then eases as he looks around.

 HIS POV

 The stands are full, the lights come up, and the audience is 
 standing, applauding thunderously!

 MED. CLOSE - HELMUT

 In his clown outfit bowing and acknowledging the ovation.

 HIS POV - THE AUDIENCE

 as they stop applauding and sit down.

 WIDE SHOT

 Helmut -- the chair and the trombone --

 THE TROMBONE PANTOMIME

 As the completion of the "Trombone Pantomime" Helmut walks 
 away from the position he was in with the trombone and bows 
 and milks the crowd for reactions and as he bows the second 
 time... WE SHIMMER:

          BACK TO:

 CLOSE - HELMUT

 In bowing position as he looks at the crowd.

 HIS POV - THE EMPTY STANDS

 CLOSE - HELMUT

 His face shows signs of utter despair and dejection... the 
 dream is gone and the memory of what was really hurts deep 
 down.  He looks around making sure he hasn't been noticed by 
 anyone and takes that deep sigh and strolls towards the back 
 of the circus tent area on his way to find Schmidt.

 WIDE ANGLE

 TRUCK WITH HIM, HOLDING the many empty seats in the b.g. as 
 he walks... trying to muster up the courage he's going to 
 have to call... something that has now become totally foreign 
 to him.

 HIGH SHOT - THE EMPTY CIRCUS

 We see Helmut as the tiny figure he feels like, walking out 
 of the tent area and into the backstage section.

           CUT TO:

 BACKSTAGE OFFICE AREA - NIGHT

 Helmut enters the section of the circus where Schmidt has 
 his "Temp" office quarters.  It is a tent-like arrangement 
 with the canvas flap as his door and we see light streaming 
 from the half open canvas flap.

 HIS POV - THE TENT OFFICE

 Helmut looks and sees a shadow of a body moving around in 
 the tent office area and starts for it.

 INT. TENT OFFICE - NIGHT

 Schmidt pacing up and down... thinking, as we PULL BACK to 
 see Gustav seated in one of the fold-up chairs with a "I am 
 waiting" look on his face.

      SCHMIDT
  Naturally, I agree... Doork is a 
  nuisance, but to just let him go 
  seems a little unfair.

      GUSTAV
  Schmidt!  Don't make me put it on a 
  "either him or me basis".

      SCHMIDT
  All right... all right... I'll give 
  him --

           CUT TO:

 OUTSIDE OFFICE TENT - HELMUT - NIGHT

 listening.

      SCHMIDT (V.O.)
  -- his two weeks notice tomorrow. 
  Will that satisfy you?

      GUSTAV (V.O.)
  Perfectly!!  Let's have a drink...

 Helmut drops his head, completely discouraged and saddened 
 by what he knows is a losing battle.  As he starts to walk 
 away we can HEAR the tinkling of glasses and the slight 
 laughter of the two men as we watch Helmut slowly scuff his 
 way towards the backstage circus exit, as we:

 DISSOLVE (12-ft) HOLDING his walk over his limp body at bar.

 INT. THE BAR - NIGHT

 Helmut has had more than a few and really looks beaten and 
 shoddy -- he waves for the bartender to bring another.

      CLAUSE
   (pouring still another 
   blast)
  It's your funeral.

      HELMUT
   (not too clearly)
  A funeral is usually in order when 
  someone dies.

 Up to now, we have no idea, whatever, as to the time (in 
 history) we are indeed in Germany, but as Helmut downs another 
 blast we SLOWLY CREEP our CAMERA to include more of the bar 
 than we have seen before and it includes pictures, framed, 
 of soldiers, arms interlocked (looking somewhat like summer 
 camp stills), the German flag (1933 vintage / crisscrossed 
 with the Swastika), a large banner marked "Deutchland" Ober 
 Aliss... and finally, the larger than life photograph of 
 "Hitler".  Helmut slowly CROSSES CAMERA as he takes another 
 drink and starts spouting again.

      HELMUT
  The trouble with man today is that 
  he takes everything for granted...  
  he thinks things he's told to think...  
  and accepts it! Just because we know 
  meanings of words we use them and we 
  fool ourselves...  people should use 
  the dictionary more...  look up words 
  like good... bad... honest... loyal...
  especially loyal,  I know what loyal 
  means, and I have always been that...  
  but does anyone care?  No!  Of course 
  not...  Only when it is expedient...  
  When it isn't ---
   (he slashes his throat 
   with his finger)
  --- ZIPPPP!  You're out!

 Helmut stops with his BACK TO CAMERA looking straight at 
 "Hitler" and screams:

      HELMUT
  And that goes for you too... Mine 
  Fuhrer...

 He shoves his right arm up and out at the photograph of 
 "Hitler".

      HELMUT
  ... you, too, are a fool.  You allow 
  yourself to think you have "loyal" 
  followers...  Ha!  Wait until they've 
  had it with you...  You'll get 
  yours... all the smiling, bowing, 
  heel clicking idiots will shaft you 
  too.  And you will deserve it because 
  if you allow people like Herr Schmidt 
  to got about his business of lying, 
  and cheating, and being disloyal, 
  one day all the Schmidts in Germany 
  will turn on you and you will finish 
  as the dumb little corporal you 
  started as, and never know what hit 
  you...

 During the above dialogue, two S.S. men along with two Gestapo 
 men walk into the bar and sit at a table unseen by Helmut, 
 and as they sit, Helmut continues:

      HELMUT
  He really has to be stupid --
   (indicating Hitler)
  I could help him by telling him about 
  the people he thinks are good 
  Germans... Ha!

 The two S.S. men and the two Gestapo men just happened to 
 stop in the pub, they can't really believe what they are 
 hearing, and the two S.S. men make a move to get up and secure 
 Helmut.  The head Gestapo man nods to them to stay seated 
 and wait and listen.  Helmut continues his rave and gets 
 more violent as he goes on.  Clause, the bartender, would 
 love to tell him the Germans are there, but chooses to go 
 about his business.

 Helmut is really getting the effects of the booze now and is 
 bordering on flipping his lid, completely.

 (He does the stagger routine trying to get to the table on 
 the other side of the bar furthest away from where the S.S.  
 men and Gestapo men are sitting)... We play this for visual 
 humor, but at the same time showing just how swacked he is!!!  
 Helmut finally reaches the table he has been trying 
 desperately to get to and falls into it, exhausted and 
 emotionally drained.  He looks around at the few people who 
 have been watching him, most of which are frightened at what 
 he has said, trying vainly to stay out of it.  Helmut catches 
 the eyes of the four men (S.S. and Gestapo) just looking at 
 him.

      HELMUT
   (angrily)
  What are you staring at?  Didn't you 
  ever see a man drink before?

 The four men just stare at him with no answer.

      HELMUT
  What's the matter?  Haven't you guys 
  got a sense of humor?  You must have!  
  Look how you're dressed!  Grown men 
  in their little soldier suits... And 
  the black coats and gloves... Like 
  in a movie...

 Helmut gets up and walks over to their table... mumbling, 
 and staggering as he goes...

      HELMUT
  Real cloak and dagger stuff...  Didn't 
  you Gestapo guys ever know that 
  everybody can spot you a mile away?
   (leaning over and 
   whispering)
  Listen, if you really wanted to be 
  unnoticed...  You should dress like 
  plain people, then nobody would  
  know you... You might even wear straw 
  hats and shorts...

 He hears this and gets hysterical laughing.

      HELMUT
  Straw hats and shorts!!  That's funny!  
  Now that's really funny, isn't it?  
  Straw hats and shorts!

 They just stare!

      HELMUT
  Well, isn't that funny?   Think of 
  it...  That's funny!   Why don't you 
  laugh?

 HELMUT'S POV - THE S.S. AND GESTAPO MEN

 They are really staring now, hard to believe their ears and 
 eyes.

      HELMUT
   (gets an idea)
  I know why you're not laughing...  
  Because things you hear, you have to 
  think about... I'll show you something 
  that you'll laugh at because all 
  you'll have to do is watch...

 DIRECTOR'S MEMO!!!    (INSERT CHAPLIN FOOTAGE)

 Helmut goes over to the bar, where a little man is standing 
 drinking his beer.  Alongside of the beer is a small plate 
 with crackers and brown jam.  Helmut takes a comb out of his 
 pocket, dips it in the man's glass of beer, combs his hair 
 down over one eye, takes a finger full of the brown jam and 
 makes a shicklegruber mustache from it... and turns on the 
 four men yelling:

      HELMUT
  Ve vill conquer the world...  Heil 
  me!  Heil me!  Heil me!

 He screams the last "Heil" and collapses on the floor.  The 
 four men get up and proceed to pick him up and carry him out 
 of the bar.  As they get to the doorway and exit we STAY 
 on... Ada who has just arrived to see them pick him up and 
 carry him away.  She is shocked.  We STAY on a CLOSEUP OF 
 HER FACE showing the strain, pain and sadness as we:

          DISSOLVE TO:

 INT. LT. REICHER'S OFFICE - OUTER OFFICE - BERLIN GESTAPO 
 HEADQUARTERS - DAY

 We OPEN on the shiny black boots swinging the door open in 
 front of him and as we PULL BACK we see Helmut seated in a 
 slumped position on the hard wood bench as we introduce the 
 wearer of the black boots -- LT. REICHER -- he enters his 
 office as we go with him... (Feather Edge Set)... he walks 
 briskly to the desk where there are briefs and papers stacked 
 high on his desk... he bellows, after looking at the top 
 folder.

      REICHER
  STEINER !!!!  Get in here!

 A frightened and spineless like corporal springs into his 
 office and clicks his heels and screams.

      CORPORAL
  Heil Hitler!
   (shooting that stiff 
   arm out like on a 
   spring!)
  Reicher flips his wrist in answer to 
  the heil, showing complete annoyance 
  at having to do it.

      REICHER
  Do I see what I think I see here?

 The corporal leans over the desk, and in order to see puts 
 his hand on the desk to brace himself... Reicher smacks his 
 arm, knocking his face flat on the desk... he stays there 
 with his ass in the air, waiting for instructions.  Reicher 
 leans down putting his nose right to the corporal's nose.

      REICHER
  Never put your hands on my desk...  
  is that clear?

 Still in the same position, the Corporal extends his arm for 
 a heil Hitler, which is virtually impossible in the position 
 he is in.

      CORPORAL
   (meekly)
  Yes sir!

      REICHER
  MOVE IT!!

 The Corporal rises and stands stiffer than ever...

      REICHER
   (picking the folder 
   up)
  Now tell me, is this brief correct?  
  Is that prisoner, the drunk, the one 
  that impersonated the Fuehrer?

      CORPORAL
  Yes sir!  It is!

 Reicher paces behind his desk... the Corporal still stiff at 
 attention... waits and watches in mortal fear.

      REICHER
   (to himself)
  I get all the weirdos...  Alright, 
  Corporal, send him in!

 The corporal clicks his heels, thrilled that he can go.

      CORPORAL
  Yes sir!!!!

 He exits, and returns with Helmut and one more guard.  Helmut 
 stands in the doorway, frightened and unsure, Reicher still 
 pacing behind his desk feels Helmut's presence...

      REICHER
  Alright, come in, sit down!

 Helmut walks to the chair in front of Reicher's desk... The 
 spineless corporal moves towards the door... turns... and 
 takes his position on the opposite side of the door that the 
 guard is standing at...

 Reicher picks up the folder again, fingers through it.  As 
 he looks through the folder, he looks at Helmut and looks 
 and fingers pages and the silence and the anxiety is getting 
 to Helmut as he sweats and waits.

 Reicher is toying with him, and each time Reicher looks up 
 the sick, little-boy smile crosses Helmut's face, hoping to 
 endear himself to this Prussian pig!

 Reicher finally sits down beside his desk in a chair that 
 resembles a throne.  It is high and it looks down on Helmut.

 (Props:  This chair must be higher and taller than Helmut's 
 chair... for POV shots diminishing Helmut seated there.

 OVER REICHER ON HELMUT

      REICHER
   (soft spoken)
  Are you Helmut Doork?

      HELMUT
   (nervously)
  Doork, yes sir, Helmut Doork!  I am 
  he!  Yes sir, that is correct, Doork!

      REICHER
  And are you a clown in the circus?

      HELMUT
   (ego setting in and 
   forgetting for a 
   moment his trouble 
   and danger)
  Not JUST A CLOWN!  I am Helmut Doork, 
  Premier Clown!  I've clowned for the 
  royal heads of many of our finest 
  countries, why there were times when 
  I had to...

      REICHER
   (breaking in)
  That was years ago... According to 
  these papers you are now just a helper 
  in the circus with little or no 
  importance!!

 This stuns Helmut, his facade destroyed... His face drops 
 along with his fear...

      HELMUT
   (meekly)
  Some things are only temporary...  
  Lt. Reicher!  Only yesterday, I had 
  calls from one of the great circus 
  owners in all of Europe... he...

      REICHER
   (breaking in, strong 
   and angry)
  You are NOTHING!!  You are a HAS 
  BEEN!!  You WERE A CLOWN...

      REICHER
   (continuing)
  You are now a prisoner of the State 
  and that's not funny... Can you make 
  something funny out of that, Clown?

 Helmut sinks even lower in the over-stuffed chair, despair 
 in his eyes and a weight on his heart... the truth slashing 
 at his very being.

      HELMUT
   (softly)
  No!  Lt. Reicher, I can't make 
  anything funny from that thought...

      REICHER
  It is no thought... It is fact, Clown, 
  unquestionable fact!!  Now down to 
  the issues at hand...  Did you 
  willfully and with malice attack the 
  State and impersonate the Fuhrer?

      HELMUT
   (softly)
  I was drunk!  It was a mistake!  I 
  meant no disrespect... Sir... 
  Honestly, I was drunk and not 
  responsible for my actions and 
  thoughts!  And my actions were 
  subconscious!

      REICHER
   (screaming)
  Subconscious??  Meaning it was all 
  motivated by truth that came out 
  under the influence of alcohol!

      HELMUT
   (still softly)
  I am a LOYAL German!

      REICHER
  And what kind of commendation would 
  you expect for being a loyal German?

      HELMUT
  I want nothing!  But I'm more loyal 
  than most Germans I know...

      REICHER
  Like who?

 Helmut realizes this was the wrong thing to say... he 
 sweats...

      HELMUT
  Ah, like... re...

      REICHER
  Names!   Names!!!  Who?

      HELMUT
  I don't know...

      REICHER
  Sir!!!

      HELMUT
  I don't know, sir...

      REICHER
  But you said other Germans... What 
  OTHER Germans...  Who are they?  Why 
  aren't they loyal?  Who?

      HELMUT
   (trying desperately 
   to cop out)
  I'm not responsible for what I say 
  now...

      REICHER
  Why?  You're not drinking... you 
  said you weren't responsible last 
  night because you were drunk!  Are 
  you drunk now?

      HELMUT
  No, sir!

      REICHER
  Then why are you not responsible 
  now?

      HELMUT
  I don't know!!

      REICHER
  SIR!!!

      HELMUT
  I don't know -- sir !!!

      REICHER
  Why are you not responsible?  Why?  
  Why?  Why?  Why?

 On each attack of the word "why", Reicher creeps up closer 
 and closer to Helmut, really intimidating him... and the 
 sound of his voice echoes and becomes monotone and ominous...

 [THE NEXT TWO PAGES OF THE SCRIPT ARE MISSING AS THEY ARE IN 
 THE ORIGINAL]

 The corporal gets Reicher's point and marks his notebook, 
 flips the cover closed, snaps to attention as we:

          DISSOLVE TO:

 INT RAILWAY STATION - DAY

 Ada walking as briskly as a woman can walk without running 
 and then her walk becomes a panic running, looking, sweating, 
 and the look on her face is evident that she is frightened 
 and close to shock... she gets to a train gate where she 
 sees the S.S. men pushing men through the gate to the train... 
 she knows she is where she has to be... she approaches one 
 of the S.S. men...

      ADA
  Excuse me, sir, but I wonder if you 
  would help me... you see...

      S.S. MAN
   (very briskly)
  No!  Go away!

      ADA
  You don't understand...

      S.S. MAN
  You don't understand...  I said go 
  away !!

 Ada backs away from the gate, and stands to one side watching 
 the prisoners being moved from the back of the huge truck 
 backed up to the railway area... she is looking through the 
 iron bars (we SHOOT the bars holding depth of field snugly 
 so that the prisoners and the bars are in sharp focus)... we 
 make QUICK CUTS between Ada and the prisoners exiting the 
 huge truck... as we see the change of expression on Ada's 
 face we know she sees what she's been looking for... Helmut... 
 he is walking in a slow rhythm following a group of men who 
 look equally as broken and sad as he looks... Ada yells 
 through the bars...

      ADA
  HELMUT !

 Just as she yells, the voice of an S.S. Man drowns out her 
 scream as he yells...

      S.S. MAN
  Move along... you swine... move...  
  we haven't got all day... move...  
  move... one-two-three-four --

 His voice rings loudly in echo in the vast station it's as 
 though he is timing his yells to each scream of hers... we 
 see her mouth moving with the SOUND of the S.S. Man's voice 
 coming from it... she is screaming Helmut... as the S.S. Man 
 screams...

      S.S. MAN
  Move it... move it... move...  move... 
  hurry... faster... faster...

 Helmut and the other men push ahead faster and faster... 
 with INTERCUTS of Ada, tears streaming down her face... with 
 CUTS of Helmut walking with his head down, embarrassed and 
 shattered...

 MED. - ADA

 We MOVE the CAMERA SLOWLY towards her, peering through the 
 bars of the huge gate... and as we MOVE, we HEAR the doors 
 of the train slamming... the whistle... and the slow start 
 of the locomotive moving the train out of the station... by 
 the time we get to the (choker) of Ada... the train is almost 
 out of listening range... She drops her head, wipes her eyes 
 with her handkerchief, as we hear so.:

      S.S. MAN
   (the same one at the 
   gate who told her to 
   go away)
  Now I would be glad to help you, 
  Fraulein... shall we start with a 
  drink?  There is a lovely little bar 
  around the corner...

 During the above dialogue we see another S.S. Man closing 
 and locking the gate to the train platform... She looks at 
 this "Pig", then down and up as though she were examining a 
 rare, never seen insect... and then right into his face... 
 and softly whispers:

      ADA
  Go away !!

 She turns and slowly walks the long walk down the empty 
 station corridor as we

          DISSOLVE TO:

 INT. THEIR APARTMENT - NIGHT

 Ada is sitting at the kitchen table, the table is empty, the 
 light is low and we see the picture of a lonely heartbroken 
 woman, she has a small bowl of soup in front of her and the 
 spoon in her hand is doing nothing more than swirling the 
 soup around in the bowl... she can't eat, which is evident 
 and as she swirls the spoon around, we MOVE IN SLOWLY and 
 into the bowl of soup (choker)... and HOLD on the spoon in 
 the bowl as we

          STRAIGHT CUT TO:

 INT. CAMP MESS HALL - INSERT - BOWL OF SLOP - DAY

 We see wooden spoon doing exactly what Ada was doing, just 
 swirling the spoon around in what looks like dirty water 
 with a carrot in it, the bowl is chopped and cracked, the 
 spoon is old and almost white from use... the handle still 
 retains its wooden look... as we PULL BACK we see Helmut is 
 swirling the spoon in the slop... behind him is a Guard just 
 watching his actions... after a beat, the Guard taps Helmut 
 on the shoulder...

      GUARD
  Tsk!  tsk!  tsk!  shame on you, 
  Doork... shame...  don't you want to 
  grow big and strong like me?

 Helmut knows he's in trouble and just waits indifferently 
 for the fireworks to start...

      GUARD
  We must eat our food!  Do we want 
  Uncle to feed the little man?

 The guard pulls the man next to Helmut out of his seat and 
 practically throws him to the floor to make room for himself 
 to sit down next to Helmut which he does... he half turns 
 his body towards Helmut and turns Helmut around in the same 
 fashion so they are almost facing one another.  The Guard 
 takes the wooden spoon and fills it with the soup and proceeds 
 to feed Helmut... he stuffs the spoonful of soup into his 
 mouth... and Helmut takes and swallows... then the Guard 
 takes another spoonful and makes believe he is blowing it 
 (like a mother blows the hot soup not to burn the baby's 
 mouth)... and forces the spoonful into Helmut's mouth.

      GUARD
   (continuing to feed 
   him as he puts the 
   spoon in his mouth)
  And now one for Aunt Ada...

 As the Guard uses the name Ada, Helmut bites down on the 
 spoon and won't let it go... but if looks could kill... he 
 stares at the Guard with hate...

      GUARD
   (pulling the spoon)
  Let go, Doork, let go... it's the 
  soup that makes us big and strong... 
  not the spoon... LET IT GO!

 Helmut still holds it clenched in his teeth, and the Guard 
 smacks his face full force.  Helmut lets it go... and holds 
 his face, embarrassed and humiliated as any many would be...

      GUARD
   (continuing)
  Now let's try it again...

 He fills the spoon and sticks it toward Helmut's mouth, but 
 Helmut clenches his teeth keeping his mouth shut.

      GUARD
  I said let's try it again...

 He shoves the spoon into his lips, as the soup drips all 
 over the front of Helmut's shirt.  The Guard uses the spoon 
 to clean the front of his shirt and forces the liquid he 
 took from the shirt front into Helmut's mouth... Some of the 
 men at the table and surrounding tables feel for Helmut, 
 others think it's funny... they laugh quietly.

      GUARD
  Oh, I know why you're unhappy... 
  soup without bread is terrible...

 The Guard takes the large loaf of brown bread and rips a 
 huge piece out of the center of the loaf and proceeds to 
 stuff Helmut's mouth with bread, until he looks like his 
 cheeks are eight times their normal size.

      GUARD
  Isn't that better?  Now take some 
  soup...

 He pushes a spoonful of soup into his mouth which is so full, 
 nothing can get in... consequently the bread spills out, the 
 soup spills out... and he is a mess... (We play this scene 
 for plot value, but it will work comically as well.)

      HELMUT
  I've had enough, thank you... No 
  more, please...

 The Guard just stares at him...

      HELMUT
  Please!

      GUARD
  I'm surprised at you, Doork, you've 
  been here two years now, you should 
  have learned we, of the Third Reich, 
  never acknowledge the weak, sniveling, 
  begging of you swine...  that's all 
  you're good for... begging... 
  pleading... praying...  you're a 
  disgrace to the human race.  That's 
  why we of the superior race must do 
  away with all of you...

 The guard turns to the other men at the table, and goes into 
 one of his mentally unbalanced tirades...

      GUARD
  And we will!  We will!  Do away with 
  all of you.  You're worthless pigs... 
  with no courage, no guts, why if 
  anyone did to me what I just did to 
  Doork I would kill him!
   (turning to Helmut)
  Why don't you kill me, Doork?  Go 
  on...  kill me... kill me... take 
  the knife from the table and kill 
  me...

 Helmut looks at the knife on the table, picks it up, holds 
 it in stabbing style, thinks about it... and we know by his 
 look, he would love to...

      HELMUT
   (with knife in hand)
  I would kill you... but I am getting 
  my release any day now... and I won't 
  do anything that would spoil my 
  chances...

 Helmut digs the knife into the table top and buries his head 
 in his hands... totally shook from the encounter...

      GUARD
  Your release?

 He begins to laugh, but hysterically.

      GUARD
  Release?  They told me you were 
  funny...  but I never realized just 
  how funny you are...  RELEASE ????

 And the hysterical laughter really echoes throughout the 
 mess hall as the Guard makes his way towards the exit.  The 
 men at the table slowly get up and exit the scene, as do the 
 others at the surrounding tables... leaving Helmut just 
 sitting there... we PULL BACK to reveal the empty mess hall, 
 and the lonely sad body of Helmut, as he looks around 
 realizing he's alone, gets up and slowly creeps out of the 
 hall like a puppy with his tail between his legs... as we

          DISSOLVE TO:

 EXT. PRISON YARD - FULL SHOT - DAY

 There are two rows of prisoners quarters, wooden buildings, 
 weather beaten each row consists of about a dozen barracks 
 each... joined at the ends, farthest from the CAMERA by the 
 administration building, a two story type making a "U" shape 
 of the compound... The entire yard is surrounded by two high 
 wire fences about ten yards apart and fifteen feet high.   
 At intervals of about twenty-five yards, in the area between 
 the fences, are the guard towers, each about eighteen feet 
 above the ground equipped with searchlights, sirens, machine 
 guns, with three Guards on duty.  Along outer fence, also 
 about twenty-five yards apart, other powerful lighting 
 equipment mounted on high poles.

 It is morning and although the sun shines brightly it doesn't 
 in any way alter the drabness of the compound... nor does it 
 help change the look of the men...

 There are about three hundred men milling about, some still 
 chewing what was their breakfast, some pulling brown bread 
 from their shirt fronts and exchanging bread for cigarettes 
 or just making deals, one with another... some sit along the 
 barracks walls trying to get some sun... others walking in 
 circles... some talking, laughing, even playing cards... 
 doing whatever they can to kill time...

 PAN the entire camp.  At completion of the long PAN 
 introducing the prison camp, we pick up the sixtyish JOHANN 
 KELTNER (formally ANDERLICH), a warm, sensitive looking 
 greying man, thin but with a dignity and a serenity about 
 him... He walks briskly (and we know he'd love to walk slowly 
 and tiredly, but we can see he knows his attitude and conduct 
 will help those that can't help themselves...)

 His face tells us he is good, kind and the reason men want 
 to live, he is special and he smiles at all those he passes, 
 greets the men and is generally what man wishes he could be 
 under the same circumstances...

 He walks into the building, which we learn is the barracks...

 INT. BARRACKS - DAY

 The barracks are empty... Keltner enters the huge room and 
 looks around and sees Helmut at the other end of the barracks 
 just walking back and forth like a caged lion... angry, hurt, 
 sad, and generally out of sorts... he can't even hear Keltner 
 approaching him... he finally stops at the back wall of the 
 barracks and lays his head against the barracks wall...

      HELMUT
   (not aware Keltner is 
   behind him)
  Dear God, please hear me!

      KELTNER
  He hears you, my son...

 Helmut jumps, scared... throwing his back against the wall, 
 like a man who fears being attacked at any time...

      KELTNER
   (sympathetically)
  Here, here, easy, you can't do this 
  to yourself...

      HELMUT
  You frightened me, Johann, I'm 
  sorry...

      KELTNER
   (softly)
  You have nothing to be sorry for...  
  Fear isn't something controlled by 
  man...  fear can not be conferred 
  with...  there isn't anyway known to 
  mankind where man can say to 
  himself...  "I will not be afraid"... 
  Oh, certainly man can try to fight 
  it... but faith and believing are 
  man's only chance...  You must have 
  faith... you must!

      HELMUT
  I have faith... but not always...  
  sometimes it eludes me...  I can't 
  remember to remember it.

      KELTNER
  But that's natural... you can't expect 
  to be perfect in what you try to 
  do...

      HELMUT
  I don't know...

 He starts pacing again.

      KELTNER
  I heard what happened at breakfast 
  this morning with ROTHMAN, the 
  guard...

 Helmut spins around, frightened again...

      HELMUT
  Will they do something to me? What 
  have you heard?

      KELTNER
   (putting his arm around 
   him)
  Nothing, absolutely nothing... don't 
  worry about it... I just wanted you 
  to know that I believe you handled 
  yourself admirably...

      HELMUT
  That was one time I didn't care for 
  the laughs I was getting from some 
  of the men...

      KELTNER
  Of course you didn't... but I'm sure 
  you know man laughs for two reasons... 
  one because something is funny... 
  two, because they fear showing fear... 
  they laughed because "there but for 
  the grace of God go I!"

      HELMUT
  Do you really think so?

      KELTNER
  I'm certain of it!

 Helmut smiles and takes Johann's hand, tenderly, and warmly:

      HELMUT
  Thank you, Johann.  I always feel so 
  much better after you talk to me...

      KELTNER
  I'm glad, Helmut, I'm very glad...  
  you know you can always talk to me, 
  about anything...

      HELMUT
   (remembering)
  Oh!  I almost forgot...

 Helmut puts Johann around the back of the barrack area near 
 the wall out of sight of anyone coming in...

      HELMUT
  Before breakfast this morning,  I 
  spoke to one of the guards, a very 
  intelligent one, and he seems quite 
  nice and friendly too.  Well, he 
  said that the Gestapo has set up a 
  special review board to handle cases 
  just like mine.  And he said he would 
  get me a form, a special form.  Just 
  been printed up.  And I'm to fill it 
  out.  Isn't that good?

 Keltner looking at him, like a child that believes in the 
 boogie man:

      KELTNER
  How many times since you've been 
  here, have you filled out forms?  
  Twenty?  Thirty times??

      HELMUT
   (in fast)
  But this is different.  It's entirely 
  new.

 Helmut takes out a set of papers from his back pocket to 
 show Keltner.

      HELMUT
  See?  These are made up by the Gestapo 
  itself... and the form will go 
  directly to Berlin, to Gestapo 
  headquarters.  That's the important 
  thing about this... the Gestapo's in 
  on it.  That's a very good sign.
   (a beat)
  Isn't it a good sign?

      KELTNER
   (sympathetically)
  Yes, my son, it is a good sign.

      HELMUT
   (in fast, excited; 
   scanning the papers)
  And I have to be very careful of 
  everything I put down on the form.  
  The tiniest detail could make the 
  difference.  Don't you agree?

 Helmut looks up and notices Johann is looking up towards the 
 ceiling of the barracks... watching something... Helmut looks 
 up, too.

 THEIR POV - THE BIRDS

 Up and under the eaves of the barrack just above their heads, 
 two small birds are perched (apparently they flew in from 
 outside and decided to nest there).

 BACK TO HELMUT AND KELTNER - TWO SHOT

      KELTNER
  Isn't it strange?  They are free to 
  go anywhere they want, and they come 
  here to nest.

 Helmut doesn't react to Keltner's dialogue, but goes back to 
 his creased and soiled papers that he's read a thousand times 
 before, and reads them again... as he reads... Keltner takes 
 a piece of brown bread from his shirt pocket and crumbles it 
 and throws the crumbs up to the little birds...

 HIS POV - THE BIRDS

 They scramble to chew the crumbs, and they do...

 DOWN SHOT - KELTNER

 watching.  Johann just watches, smiling at the birds, turns 
 and looks to see if Helmut is watching, too...

 HELMUT - CLOSE

 Intense at scanning through the papers and totally oblivious 
 to Keltner and the birds...

 KELTNER - CLOSE

      KELTNER
   (softly)
  Watch the birds eat, Helmut... it's 
  so cute...

      HELMUT
  I'm sure I've got everything here...  
  The important facts from the moment 
  I was arrested, the questions the 
  Gestapo officer asked me...  now 
  what was his name again?  I can't 
  seem to remember what his name was...

      KELTNER
  HELMUT...

      HELMUT
  What the devil was his name?

      KELTNER  (LOUDER)
  HELMUT !

      HELMUT
   (coming out of it)
  Oh, yes, Johann... I'm sorry... you 
  were saying?

      KELTNER
  You're not a religious man, are you, 
  Helmut?

      HELMUT
   (thinking about it)
  Well, I... ah...

      KELTNER
  Not sure I am myself anymore.

 Helmut quite surprised by this remark.

      KELTNER
  Yet... when I see those birds, I 
  wonder...  were they sent here to 
  let us know this place really isn't 
  God forsaken?

      HELMUT
  He should have sent them elsewhere...  
  they could be eaten here!

 Helmut goes back to studying his papers, Keltner ponders 
 Helmut's remark, looks backup at the birds... his face full 
 of compassion, as we:

          DISSOLVE TO:

 INT. BARRACKS - NIGHT (DUSK)

 We now see the Barracks completely (SHOOTING from flat on), 
 the wooden bunks are housed in a low wooden building with 
 eight two tier bunks on each side.  A group of men are 
 clustered around Keltner's bunk.  Here we meet:  ADOLF, a 
 large, once powerful man, in his mid thirties.  LUDWIG, once 
 a fairly prosperous businessman before his politics landed 
 him in prison, is older, and his bitterness is written all 
 over his face.  FRANZ, is the youngest.  He is a sensitive 
 looing twenty five year old, more than likely the "rebel" 
 type of the 1930s.

 Helmut is in his upper bunk over Keltner writing on an old 
 piece of paper with a scruffy pencil, which he bites to make 
 a point of, and wets with his tongue like any fat butcher 
 selling liverwurst and marking the price on a brown paper 
 bag... (i.e. Brooklyn, circa 1928).

 We TRUCK the CAMERA down the long barrack to include the 
 other men doing their things.  A couple of men are getting 
 ready for a card game... several others are comparing 
 clothing, mending and helping one another, a couple play 
 chess.  A few are sleeping, but for the most part, most of 
 the men lay in their bunks staring at the ceiling... The 
 floors are spotless... suffice to say they better be... the 
 walls have nothing hanging but a few socks drying... a torn 
 calendar, wrong year, etc.

 CLOSE - KELTNER GROUP

 Johann sits with his back to CAMERA... at the edge of his 
 bunk, leaving room on his bunk for Adolph, Ludwig, Franz.

 He is showing something to them that we cannot see.  Keltner's 
 body covers whatever it is that the three men are gawking 
 at, facing CAMERA... and they are indeed gawking with delight 
 and admiration.

      LUDWIG
   (seriously)
  I think we should eat it!

      KELTNER
  Not on your life...
   (catching himself)
  Er, that is... I wouldn't...

      FRANZ
  Put it somewhere so it can brighten 
  up the place.

      LUDWIG
   (sourly)
  It would take a hell of a lot more 
  than that to brighten up this place.

      ADOLF
  It'll be better than looking at your 
  long face.

 Chuckling, Keltner rises.  We BOOM UP with him, and as his 
 head comes up over the top of the bottom bunk... he holds 
 out the object for Helmut to see... It is a potato, a sorry 
 looking spud... that Keltner has put in a small can of water 
 and is beginning to sprout two sick-looking shoots.

      KELTNER
   (to Helmut)
  Do you see the way it's sprouting...  
  I told you it wasn't completely 
  rotten.

      HELMUT
   (his mind on his thing)
  That's nice, Johann.  Do you remember 
  when I filled out those last forms?  
  The date might be important.

      KELTNER
   (almost annoyed)
  About four weeks ago, I think.

 LOOSER SHOT

 As Keltner walks away from Helmut's bunk.

      KELTNER
  I'll put it up here on the window 
  sill, it'll get the morning sun.

 He reaches the window and starts to reach up, to place the 
 potato on the sill... a hand shoots out holding the hand of 
 Keltner...

      STOUT PRISONER
  Think you can trust your potato so 
  close to me, Reverend?

      LUDWIG
  The potato he TRUSTS... it's you he 
  doesn't trust!

 All the men laugh, including the "stout prisoner" who laughs 
 the loudest... Keltner hands the stout prisoner the potato, 
 who in turn takes same and places it gently on the window 
 sill just adjacent to his bunk... after placing it on the 
 sill, he gestures ala the trapeze artist after making a super 
 truck, looking for applause... Keltner pats his leg in a 
 gesture of "thank you".  He starts back towards his bunk 
 when the front door of the barracks flings open and the Guard 
 enters.

      GUARD
  ATTENTION !

 The men jump, but quickly, to their feet, and stand at 
 attention at the front of their bunks, ala inspection in the 
 army.  They are rigid and waiting to hear what's up.  The 
 Guard takes a few steps into the barracks... behind him we 
 see several prisoners carrying bunks waiting to enter the 
 barracks.

      GUARD
  All the prisoners from the other 
  side of the camp are being moved 
  over to this side of the camp over 
  to this side of the camp.  Barracks 
  "H" will make room for three 
  additional bunks.

 He takes a few steps down the aisle...

      GUARD
  I want all the bunks moved down toward 
  the far end.  Get them as close 
  together as possible. Now! GET MOVING!

 LONG SHOT

 The men scramble back to their own bunks and immediately 
 begin pulling, shoving, and grumbling comments about being 
 too overcrowded as it is...

      THE MEN
   (ad lib)
  Gotta have more room... We need more 
  space...  Hey, watch where you're 
  going. This is stupid!

      GUARD
   (yelling)
  YOU!  You down there at the end...  
  get those bunks right up against the 
  wall.

 CLOSE - HELMUT AND KELTNER

 As bunks are moved towards the far end of the barracks, 
 Keltner and Helmut prepare to move their bunks, the last 
 ones on their side.  Helmut and Adolf, who have already made 
 their move, come up to Keltner to help him with his bunk... 
 Helmut sees that Keltner has help so he decides to back off 
 and hide in his little corner with his pencil and scrap of 
 paper... totally involved with his own pain and his undying 
 fantasy about his ultimate release...

 WIDER SHOT - THE ENTIRE BARRACKS

 The guard looks down the barracks as the men just about finish 
 the moving job...

      GUARD
  Hurry it up!  Come on, get moving!

 The guard turns towards the door and motions for the SIX 
 PRISONERS to enter the barracks... they enter by pairs, each 
 pair carrying a double-tier bunk.

 Their personal belongings are piled on the bunks and slung 
 over their shoulders in sacks (barracks bags)... the Guard 
 motions for the two bunks to be placed next to Helmut's and 
 one on the opposite side... next to the Stout Prisoner... 
 NOTE:  This arrangement leaves space for one additional bunk 
 right by the door.

 The guard motions for the Stout Prisoner and Herman to give 
 the new arrivals a hand with the placement of their bunks.

      GUARD
  Get them close.
   (he looks around the 
   barracks)
  You're all going to be nice and cozy 
  in here.

      STOUT PRISONER
   (in a loud voice)
  Yeah, like triplets before they are 
  born to a mother weighing 98 pounds...

      HERMAN
  That's what I call cozy!

 The guard smiles, and all the men laugh...

 ANOTHER ANGLE

 The guard starts for the door, satisfied with the 
 arrangements... as he gets the door open, Helmut runs over 
 to catch him before he makes his exit...

      HELMUT
   (anxiously)
  Excuse me, sir, the papers...  Did 
  they arrive yet?

      GUARD
   (annoyed)
  They'll have to wait!

 He exits, closing the door behind him.  Helmut, with a look 
 of despair on his face, goes back to his bunk.

 MED. SHOT - HELMUT AND KELTNER

      HELMUT
  You'd think, since he was coming 
  over here anyway, the least he could 
  do was bring the papers with him.

      KELTNER
  This moving men around has undoubtedly 
  kept him very busy... don't worry, 
  he'll bring them.

      HELMUT
  I'm sure if I asked him again he'd 
  really become annoyed with me.  Would 
  you remind him for me, please?

      KELTNER
   (kindly)
  Of course I will.

 Helmut climbs up to his bunk and goes back to his precious 
 paper work.

 WIDER ANGLE

 As the new prisoners make up their bunks and arrange their 
 belongings, the regulars of Barracks H, among them Adolf, 
 Ludwig, Herman and Franz, begin moving towards them to meet 
 them.  Keltner turns to the new white-haired prisoner whose 
 bunk is directly next to his.

      KELTNER
  I've seen you around the yard, but 
  the others...

      WHITE-HAIRED MAN
  About thirty of them got here 
  yesterday from the prison outside of 
  Frankfurt.

      1ST NEW PRISONER
   (who occupies the 
   bunk above the white-
   haired prisoner)
  For the last three months we've been 
  shuttled from one camp to another.

      2ND NEW PRISONER
   (his bunk is the lower 
   bunk on the direct 
   opposite side)
  Now they're shuffling us from one 
  side to another.  I think they're 
  trying to lose us.

      HERMAN
  Do you think they're bringing in war 
  prisoners?

      LUDWIG
  I don't know why they're sending 
  them here...  we're overcrowded as 
  it is.

      KELTNER
  No, no... it's got to be something 
  else...  Otherwise they would have 
  left the bunks.

      ADOLF
  It could be possible that he is fixing 
  up the barracks for some of his lady 
  friends.

      KELTNER
  That many women?

      HERMAN
   (standing at attention)
  Reverend, we Germans are SUPERMEN!

 All the men break out in laughter at Herman's comment and 
 his actions... but the laughter is cut short as they HEAR 
 the door open again, and they all look in that direction.

 ANOTHER ANGLE

 SHOOTING OVER the men onto the door, entering is the same 
 guard that was just there... this time he enters with two 
 more prisoners carrying their bunks.  One of them is JOSEF 
 GALT, a burly bully like man, who knows all the tricks of 
 survival, and ERNST UHLMANN, a think little man with a face 
 like a weasel... they follow the Guard into the barracks 
 proper.

      GUARD
  ATTENTION !

 The men quickly snap to attention.  The guard indicates for 
 Galt and Uhlmann to put the bunk in the space right by the 
 door.

      GALT
  We might as well be outside.

      UHLMANN
  If I get pneumonia, I'll hold the 
  government responsible!

      GUARD
  With a little luck, you'll both get 
  pneumonia!

 The guard turns and moves towards the door, stops, and turns 
 to see all is well, and exits the door, closing it behind 
 him.

 Galt sits on the lower bunk as Uhlmann sprints up to the 
 upper bunk and looks towards the original men, who are just 
 standing around watching the two new "fish"... then men sense 
 trouble and slowly and quietly return to their own bunks... 
 some of the other men just stare at the two new prisoners...

      UHLMANN
   (sitting on his bunk)
  It's sure quiet in here...

 WIDER ANGLE

 Uhlmann in his surveying the barracks spots the potato plant 
 on the window sill... next to the Stout Prisoner's bunk... 
 he jumps from his bunk and runs over towards the plant... he 
 takes it from the window sill and yells over to Galt...

      UHLMANN
  Hey, Galt!  Come over and look at 
  this!

      GALT
   (coming over to Uhlmann)
  What is it?

      UHLMANN
  Ain't it cute?

      GALT
  It's a God damn posie!

 He and Uhlmann burst into laughter...

      UHLMANN
  Looks kinda sick, doesn't it?

      GALT
   (examining it)
  It's one of them potato things...  
  and it sure as hell is sick!

      UHLMANN
  Maybe we should put it out of its 
  misery.

      GALT
  No, we don't want to do that...  we 
  might break someone's heart.

 He looks around at the other prisoners.

      GALT
  Whose little plant is this?

 The stout prisoner gets up from his bunk and starts to move 
 forward and challenge Galt... but Keltner jumps from his 
 bunk and gets to Galt first.

      KELTNER
   (with deep conviction)
  The plant is MINE!

      GALT
  Is it now?  Tell me precious... do 
  you knit, too?

      KELTNER
  If necessary, I can... and I do !

 This brings a ripple of laughter from the others... 
 particularly the new prisoners who are delighted at seeing 
 someone stand up to Galt for a change... Galt with a sneer 
 on his face steps out into the aisle to face Keltner square 
 on!

      GALT
   (to Uhlmann)
  What do you think of that, Uhlmann... 
  he knits!

      UHLMANN
  Now, if he could just cook...

 Galt and Uhlmann laugh, but they are the only ones that do...

      GALT
   (coming out of the 
   laugh)
  Can you cook, sweetheart?

 Keltner knows damn well he can't fight the brute, yet he 
 realizes that if he steps down, life not only for him, but 
 for the others in the barracks will be intolerable under 
 Galt's bully rule.  (During the following dialogue, Adolf, 
 Franz, Ludwig, Herman and the Stout Prisoner... easy up a 
 little closer to Keltner and Galt.)

      KELTNER
  If necessary, I can cook, yes!  Now, 
  if you don't mind, I'll take that 
  plant!

 He holds out his hand... Galt, wearing a deceptive smile, 
 eyes the older man...

      GALT
  Alright, old man, you really want 
  it?

 He raises his arm over his head with the plant in that hand.

      GALT
  Go get it!!

 CLOSE - KELTNER

 He looks past Galt at Helmut who is sitting up on his bunk...

 CLOSER - KELTNER

 He looks at Helmut.  His eyes try to encourage Helmut to do 
 something, say something, do anything to show that he is on 
 Keltner's side.

 CLOSE - HELMUT

 He sits up on his bunk, and wants nothing to do with the 
 bully and his pranks... so he goes back to studying his papers 
 and looks up again to catch Keltner's look of disappointment, 
 and as Keltner turns away from Helmut... Helmut realizes he 
 should do something to show Keltner he, indeed, cares... he 
 jumps down from his bunk and grabs Galt by the arm and turns 
 him around... they are now face to face...

      HELMUT
  Why don't you pick on someone your 
  own size...

      GALT
   (shocked, but pleased 
   that he finally got 
   a rise out of someone)
  What?

      HELMUT
   (firmly)
  You heard me!  Give him his plant 
  back, and leave him alone...  He 
  didn't bother you ... and if you 
  have to show your muscle, there's 
  plenty of other guys to pick on!

      GALT
  You're my size!

 ... and with this, Galt smacks Helmut a shot across the mouth 
 that sends him spilling into the corner, half knocked 
 unconcious... he lays there with blood flowing from his 
 mouth...

 Keltner leaves Galt and runs to the corner to see if Helmut 
 is okay.  Galt follows him... Keltner is leaning down checking 
 Helmut... as Galt bends down next to the two of them... still 
 holding the plant.

      GALT
  He's alright... that'll teach him to 
  keep his nose out of my business... 
  here's your plant!

 Galt makes like he's handing the plant to Keltner, who reaches 
 for it, and as he does Galt slowly stands up making Keltner 
 reach and reach and reach... and as Keltner gets closer and 
 closer, Galt stands to his fullest height... making it 
 literally impossible for Keltner to get it... Franz, Ludwig, 
 Adolf, Herman and the Stout Prisoner (more than likely 
 provoked by Helmut's stand, now circle Galt)...

      GALT
   (still holding the 
   plant up high)
  Go on, little man, reach for it!

 Keltner, torn between seeing that Helmut is alright, and 
 getting his plant back, tries to get it, and still looks to 
 see that Helmut isn't hurt too bad...

      HERMAN
   (in a low menacing 
   voice)
  Give it to him!

 Galt looks at him with a menacing stare...

      ADOLF
  You heard him... give it to him!

      FRANZ
  You've had your fun... give it to 
  him... NOW!

      STOUT PRISONER
   (closing in on Galt)
  RIGHT NOW!!

 Galt realizes this is no time for a showdown... and with a 
 childlike smile... grits his teeth...

      GALT
  Sure, here's your stupid flower or 
  whatever you call it...

 Keltner takes it from him.

      KELTNER
  Thank you...

 Keltner leans down and picks Helmut up and walks him to his 
 bunk, helps him onto it, and puts the plant on his own bunk...

 ANOTHER ANGLE

 The four men:  Ludwig, Adolf, Franz and Herman stay with 
 Galt, as does the Stout Prisoner... They are clustered around 
 Galt.

      GALT
  What's the matter with you guys?  
  Can't you take a joke?

      ADOLF
  What joke?

      GALT
  Hell, all I was doing was trying to 
  have a little fun.

      LUDWIG
  Have it with someone else!

      GALT
  What's so special about him?

      ADOLF
  That's the Reverend.  Even when they 
  came and dragged him from his 
  church...  he kept right on preaching 
  against them until they knocked him 
  unconscious.

 Galt is silent for a beat.

      GALT
  Well, how the hell was I supposed to 
  know?

      HERMAN
  NOW you know!

 Galt shoves his way through the five men and walks beaten, 
 for the moment, to his own bunk... as the men disperse and 
 walk back to their respective bunks...

 CLOSE - GALT AND UHLMANN

 Galt walks over and sits at the edge of his bunk, while 
 Uhlmann swings his legs back and forth from his perched 
 position on the top of his bunk... Galt gives him a stare...

      GALT
  You and your posies...

      UHLMANN
  That was close...

      GALT
  Where were you when I need you?

      UHLMANN
  I make love, not war!
   (goes giggly over 
   what he just said)
  Hey, that's pretty good... I made 
  that up... Make love, not war!  I 
  bet that would make a good slogan 
  someday...

      GALT
  Aw, shut up!

 And he smacks his legs up and onto the bunk.

 TWO SHOT - KELTNER AND HELMUT

 Keltner with a wet towel in his hand cleaning the blood-
 dripping mouth of Helmut...

      KELTNER
  That was really very nice of you, 
  Helmut...

      HELMUT
  Yeah, nice and STUPID!

 Helmut grabs the towel and throws it to the floor and turns 
 on his side away from Keltner.  Keltner bends down, gets the 
 towel, sits on the edge of his bunk... looks up, wonders and 
 ponders Helmut as we

          DISSOLVE TO:

 EXT. BARRACKS H - NIGHT

 The door to Barracks H slowly opens and Helmut peeks through 
 the opening to see that all is clear... he slips out and 
 walks along the dark, dreary alleyway towards the Guard's 
 shack... he moves like a prisoner trying to miss the 
 spotlights in a jail break...

 ANOTHER ANGLE

 Helmut gets to the Guards hut... he looks into the window, 
 and sees the Guard he wants... sitting at his desk eating 
 off a tray that has a meal fit for a king on it... including 
 the "doilies"... wine, and a steak that would satisfy six 
 men in Barracks H... Helmut looks around to be sure no one 
 notices him and slowly slips up to the front door of the 
 shack and knocks on the door...

 INT. GUARD'S SHACK - NIGHT

      GUARD
   (annoyed at being 
   bothered)
  Come in!

 The meek and frightened Helmut enters the shack and walks 
 over to the Guard's desk, and his eyes go immediately to the 
 tray of food.  While the Guard just stares at him... somewhat 
 shocked at his presence in the shack.

      GUARD
   (breaking the silence)
  What the hell are you doing here?  
  Who gave you permission to leave 
  your quarters?

 Helmut tries to talk as the guard gets louder and louder.

      GUARD
  Are you some kind of privileged 
  character?

 Helmut nods no...

      GUARD
  Then what are you doing out of the 
  barracks?

 The frustration of not being able to answer, and the 
 frustrations of being hungry... and the child-like treatment 
 Helmut is getting from this Pig becomes emotionally too 
 much... as he screams...

      HELMUT
   (turning red)
  If you'll shut your stupid mouth 
  maybe I can answer one of your 
  questions!

 The Guard looks at Helmut in disbelief... but at the same 
 time a little delighted at this chance to show his German 
 superiority... as he slowly gets up from behind the desk and 
 crosses to Helmut, with a sneer that would frighten Rommel...

      GUARD
   (nose to nose with 
   Helmut)
  I have a STUPID MOUTH?

 Helmut backs away towards the door, and the Guard moves closer 
 and closer to him... backing him up against the door.

      HELMUT
   (meekly)
  I'm sorry, I didn't mean to raise my 
  voice...

 He bows his head in fear, as well as concern for what he 
 might have done to his chances of release.

      GUARD
  The volume of your voice isn't the 
  issue...  it's what comes out of 
  your mouth that disturbs me...  maybe 
  you need a little lesson in respect 
  and courtesy...

 And he smacks Helmut across the face with his black glove...

      GUARD
  ... and maybe I've been a little too 
  soft with you...

 He smacks him again, harder... the glove now feels like a 
 sword to Helmut... and his hands hang limp down by his sides.

      GUARD
  You see, Doork, I knew why you came 
  in here...  I knew why you left your 
  barracks without permission... It's 
  just that I hadn't heard you mention 
  your release papers for so long I 
  had hoped I could hear you begging 
  once more...

      HELMUT
   (in a whisper)
  I'm sorry...

      GUARD
   (mimicking him)
  I'm sorry, I'm sorry... You're a 
  sorry specimen of a human being... 
  that's what you are...

 And he smacks him this time with all the force he can 
 muster...

      GUARD
  Now, I will help you to your quarters, 
  Herr Doork, here you will stay, and 
  pray for release papers that may, or 
  may not, ever come...

 This wakes Helmut's soul and he becomes erect and stonefaced 
 at the words the guards just said... this look infuriates 
 the guard even more... he grabs Helmut by the scruff of the 
 neck... like grabbing a wet cat to be thrown out of the 
 house... and he opens the door and pulls Helmut by the back 
 of the office... out the door, down the three steps and onto 
 the ground... and pulls him like a sack of potatoes to the 
 barracks doorway...

 EXT. BARRACKS H - DOORWAY - NIGHT

 Helmut is just about beaten at this point as the guard opens 
 the door of the barracks and pulls Helmut into the doorway, 
 and his body stops on the threshold.

 INT. BARRACKS H - NIGHT

 SHOOTING OVER the men onto the doorway... in the deep b.g. 
 the sad body and figure of the man lays in the doorway, as 
 the Guard kicks him in the ribs, unmercifully...

      GUARD
  Now, get inside where you belong and 
  don't ever let me catch you doing 
  anything without permission again.

 Helmut slowly gets up... in pain and practically crawls to 
 his bunk... having to pass all the men, almost as though he 
 were ashamed .. he gets to his bunk, and tries vainly to get 
 up to the top where he lives... Keltner helps him... and as 
 he settles in his place...

 CLOSE - THE GUARD

      GUARD
   (yelling across the 
   barracks)
  Reverend!  If you don't watch that 
  idiot, we may have to get him a 
  keeper!

 The guard storms out the door... slamming it shut.

 CLOSE - KELTNER AND HELMUT

 Keltner leaning over the side of Helmut's bunk whispering... 
 as the other men go back to their respective chores and 
 whatever they were doing when the guard stormed in...

      KELTNER
  Helmut, Helmut, how could you think 
  of doing such a thing? I begged you 
  not to irritate him...  and that I 
  would ask him about your papers...  
  that wasn't smart, Helmut... not 
  smart at all...  as a matter of 
  fact...

      HELMUT
   (gritting his teeth)
  Leave me alone!  ... and mind your 
  own business... Just leave me be...

 Keltner knows this is nothing more than Helmut's dismay and 
 pain in his heart talking... The kindly man drops down to 
 his own bunk... just shaking his head... as if to say, how 
 can I help him?  as we:

          DISSOLVE TO:

 EXT. BARRACKS H - DAY

 The same Guard is motioning for the men to hurry and get 
 outside... he is standing at the doorway to the barracks and 
 the men are moving out into the ice cold morning as briskly 
 as they can... the Guard moves inside after the last man has 
 made his exit...

 INT. BARRACKS - DAY

 SHOOTING OVER the Guard as he looks around, we see Keltner 
 coming out of the toilet area, rushing because he's late... 
 he throws his towel on his bunk, and as he does... he sees 
 what stops him in his tracks...

 KELTNER'S POV

 It is Helmut still sound asleep in his bunk...

 ANOTHER ANGLE

 Keltner moves towards Helmut to wake him...

      GUARD
   (in a sotto voice)
  Reverend, let him sleep... you move 
  out, I'll take care of this...

 Keltner reluctantly starts to move out towards the front 
 door, as the Guard passes him on his way to Helmut's bunk... 
 Keltner goes out the door... the Guard sneaks over towards 
 the bunk where Helmut is asleep and very sneakily slips the 
 cover off Helmut's body... then proceeds to open the window 
 above his head and the window alongside... and across the 
 way and opens the back door... which is adjacent to the toilet 
 area... and walks out of the barracks leaving the front door 
 wide open...

 EXT. BARRACKS H - DAY

 All the men are lined up for inspection, they are all looking 
 straight ahead as the Guard walks down the line.

 All except Keltner who can't help but look in the direction 
 of the barracks where he knows Helmut is still sleeping.  He 
 throws a glance at the guard as if to say... why?  Why are 
 you doing this?  Why did he leave Helmut sleeping, usually 
 the one thing that would send the guard up a wall... why is 
 he allowing this to happen?

      GUARD
   (as he finishes his 
   walk)
  You are a sick looking group of 
  things...  I can't even call you 
  human...  because you're not... you're 
  all lice...  DISMISSED!

 The men break up and go about their business, they move in 
 all directions, but Keltner starts for the doorway to the 
 barracks and is detoured by the guard who knew he would, as 
 he stands in the way of Keltner who has to turn away and go 
 about his business... the Guard peeks into the barracks.

 INT. BARRACKS - GUARD'S POV - DAY

 Helmut still sleeping...

 EXT. BARRACKS - CLOSE - GUARD - DAY

 He is delighted... he grabs the door and slams it shut with 
 a bang that would wake the dead... then opens it again and 
 walks off...

 INT. BARRACKS - CLOSE - HELMUT - DAY

 He jumps from out of his hard sleep... foggy and unsure about 
 where he is, what time it is and he looks around and sees 
 the barracks are empty... and he panics... but he is also 
 shivering... the barracks feel like the inside of a meat 
 truck refrigerated somewhat below zero...

 Helmut grabs his pants from the front of his bunk, pulls the 
 cover over him and tries to get the pants on under the 
 cover... It is cold!  (Photographically, we can show "cold"... 
 Props:  vapor/smoke.)

 He gets his pants on and jumps down onto the cold floor and 
 dances from the ice-like floor, he bends down looking for 
 his socks and shoes... he wears just a tee-shirt...

 Having trouble finding both shoes, he grabs the blanket again 
 and covers himself with it, while searching for the other 
 shoe...

 He finds the other shoe and proceeds to put them on... takes 
 a beat and sees he has no socks on... reaches under the bank 
 and pulls out the pair of socks... which stand straight up 
 (from the cold ... he holds them in the air, and drops one 
 at a time and they sound like "pans" hitting the floor... he 
 takes one and blows warm air from his mouth into the socks, 
 one at a time, which warms them... (Props:  the socks need 
 discussion!)

 He then proceeds to put his shoes on and puts one on, and 
 then the other... now wearing both shoes he starts to tie 
 the laces... he pulls them straight away to tie and they 
 stand straight up!  (Props:  this is done with leather laces, 
 pure leather... it works without any unnecessary rigging!)

 INSERT - THE STANDING STRAIGHT LACES

 BACK TO SCENE

 He finally gets them tied and starts, still sleepily, into 
 the toilet area... (We can go for a great sound joke here.)  
 He steps into the latrine, closes the door and we HEAR the 
 SOUND of crushed ice being poured into the bowl... he flushes 
 and we HEAR what might sound like an ice crusher... he steps 
 out of the latrine and walks over to the basin and turns the 
 water on.

 INSERT

 The water spigots... they both read "COLD".

 BACK TO SCENE

 And as he takes some water on his hands to his face... it is 
 "cold" and his face just freezes from the pain of the cold... 
 he looks around and sees the little metal ashtray, that looks 
 like a small bowl or a tin from a used shaving cream lather 
 soap... he fills it with water.. and to show his ingenuity, 
 he takes a lighter from his pocket, places the tin on the 
 edge of the sink and lights the fire under the tin (which 
 couldn't possibly hold more than a handful of water) and 
 proceeds to heat same...

 Once he is satisfied that it is at least warmer than the 
 spigot supplied, he grabs for the tin which is so hot from 
 the burning, he screams in another type pain... the pain of 
 "HOT" hurting... he decides to flick his fingers in the tin 
 bowl and splash some of the water on his face (which is by 
 now, just drips of water)... brushes his teeth with his finger 
 and soap... straightens his hair and exits the toilet to his 
 bunk to get his shirt... another "ICE COLD" item... he feels 
 how cold it is, and doesn't have the courage for another 
 climate blast... he rolls up his shirt and places it under 
 his armpit to warm it... as it hits under his arm... the 
 cold just about wipes him out... he decides to sit on it... 
 and he does.

 CLOSE - THE GUARD - AT THE DOOR

 He's been peeking all the while... He figures he's had his 
 laugh, and it's the first time we see he can laugh... he 
 steps into the barracks area, and yells:

      GUARD
  Doork!  Move it out, and on the 
  double!!

 Helmut jumps with fright, unravels his shirt, runs towards 
 the open door putting on his shirt as we

          DISSOLVE TO:

 INT. BARRACKS H - NIGHT

 Most of the men are clustered around their bunks, and in the 
 dull light we see some of them in the aisles, talking, playing 
 cards... while most of the others are whistling, clapping, 
 and laughing as Uhlmann does his silly little clog dance... 
 it is apparent the ugly episode between Galt and Uhlmann has 
 been forgotten for the moment.

 The lights are hung from cords down off the ceiling and for 
 a complex this size it could use ten... there are but two.

 Uhlmann is having the time of his ignorant life... the more 
 the men applaud, the more he "clog dances".

 MED. CLOSE SHOT - LUDWIG AND ADOLF

 They are both seated on their top bunk, Adolf enjoying the 
 poor dance Uhlmann is giving as Ludwig looks down the aisle 
 towards Helmut's bunk.

      LUDWIG
   (nudging Adolf)
  It looks like Helmut found some new 
  ears to listen to his Super Star 
  fantasies...

 Adolf takes a look, shrugs his shoulder, as if to say I 
 couldn't care less... and goes on watching the action of 
 Uhlmann and the other men...

      LUDWIG
   (to himself, but for 
   Adolf to hear as 
   well; a la 
   Shakespeare, mimicking 
   Helmut)
  Ringling Brothers would have done 
  anything for me to appear with them 
  but I had to do what was best for 
  me!

 CLOSE - HELMUT AND THE FOUR NEW PRISONERS

 The four new men are surrounding Helmut on the top of his 
 bunk listening to his bragging.

      HELMUT
  So I told Mr. Ringling if he wanted 
  "Helmut" he'd have to bring his circus 
  to Germany... I am a German, I told 
  him, and my responsibility is to my 
  own people who are my biggest fans.

      1ST PRISONER (NEW ONE)
  Did you really say that?

      HELMUT
   (proudly)
  Of course I did... they offered me 
  anything...  anything I wanted to go 
  with them.

      2ND NEW PRISONER
  Hey! I saw the circus in Berlin about 
  four years ago...  Didn't  you make 
  your entrance in a long tail coat 
  with a pair of tails on the jacket 
  about fifty feet long?  Sure!  And a 
  funny Little clown at the very end 
  carrying the tails like a woman's 
  train?

 Helmut studies the prisoners glare and decides he couldn't 
 even remember the clown he saw was Gustav the Great, why 
 not?  No one would ever know... and he nods with a kind of 
 studied humility... yes.

      2ND NEW PRISONER
  You were great!

 Helmut eats it up.

      2ND NEW PRISONER
  You should have seen him... You'd 
  never know it was him... with the 
  long tails  and white tie... red 
  nose...  long hair...  and a battered 
  top hat... with the hair hanging way 
  down to his shoulders...  and, ah, 
  let me see... oh, yeah... your mouth 
  went from ear to ear.

      HELMUT
   (softly)
  Right!

      3RD NEW PRISONER
  How do "clowns" ever come up with 
  such ideas for faces and make-up?

      HELMUT
  It doesn't happen overnight... it 
  takes years and years... You try 
  many faces, then finally you hit the 
  one that's just right for you.

      4TH NEW PRISONER
  My kids will never believe this, I 
  can't wait to... tell...

 His voice trails off as he realizes the hopelessness of what 
 he was about to say.  This puts a damper on the discussion 
 and the men start to break up and get down off the bunk.  
 Helmut, seeing his captive audience leaving... panics.

      HELMUT
   (emotionally)
  Wait, let me tell you some other 
  things...  I mean things that are 
  really exciting and...  please!  
  Please... let me just have a few 
  more...

      1ST NEW PRISONER
   (ignoring Helmut 
   completely)
  What's going on with those guys?

 He's looking off down the aisle where Uhlmann has his 
 audience... The four prisoners move out into the aisle to 
 get a better look, leaving Helmut perched on his bunk with a 
 pleading and broken look of despair...

      HELMUT
   (a last attempt)
  Did you know "clowns" literally 
  bequeath their faces to their sons, 
  or sometimes to...

 He realizes it's futile as the four new prisoners move towards 
 Uhlmann and the others down the aisle...

      3RD PRISONER
  Come on, let's see what's such fun...

 He moves and the others move along with him.  Helmut thinks 
 about joining them, and starts to move off his bunk but his 
 body won't respond... he just hangs there limply... his head 
 lowered, a sad man.

 ANOTHER ANGLE

 SHOOTING OVER the men placing Helmut in the very deep  b.g. 
 as we see the four new prisoners walk over to watch the 
 action...

 MED. CLOSE - UHLMANN, GALT, KELTNER, AND OTHERS

 Uhlmann is just finishing his dance with a spin, when he 
 finally gets dizzy and topples over on one of the bunks.  
 All the men applaud wildly.  Uhlmann laying half down and 
 half up on the lower bunk he landed on, breathing heavily... 
 yells over to Galt...

      UHLMANN
  Hey, Galt, it's your turn, how about 
  doin' one of your belly dances for 
  us?

 All the men agree and start yelling for Galt to do it... 
 Galt moves out into the center of the aisle in the clearing 
 made by the men, and holds up his hands for silence... they 
 quiet down and Galt looks around until he spots Keltner.

      GALT
  Reverend?

 The men become very still, they look from Galt to Keltner 
 and back to Galt, their eyes reflecting suspicion of him, 
 wondering what he's up to now.  Galt is fully aware of this.

      GALT
  Well, Reverend, what do you think?  
  Would a little belly-dancing be too 
  much for the boys?

 Keltner studies Galt for a beat, then accepts his offer of a 
 truce.

      KELTNER
   (moving over towards 
   Galt)
  A little fun is what we need... so...  
  if you'll all hold the noise down, 
  I'll join in.

 A hushed cheer goes up from the men as Keltner stands besides 
 Galt.  Galt holds his hands over his head and nods for Keltner 
 to do the same thing.  The Reverend does, and now Galt begins 
 undulating his hips.  Keltner studies the move for a beat 
 and then does the same thing but with comical awkwardness.  
 Franz starts playing a slow sensuous rhythm on his harmonica.  
 The men clap and whistle softly.

 CLOSE SHOT - HELMUT

 He is sitting upright on top of his bunk, watching what Galt 
 has Keltner doing, a look of disgust passes his face as he 
 turns away from what he'd been watching and gets busy with 
 his papers and figuring again.

 MED. SHOT - GALT, KELTNER

 They are just finishing their dance.  The men applaud wildly 
 but softly... Keltner, puffing, moves over to the side and 
 sits on one of the bunks to catch his breath.  Galt takes a 
 few bows, and the men react with applause and whistling that's 
 beginning to take on "noise" proportions... Keltner motions 
 for the men to hold it down... and they do.

      4TH NEW PRISONER
  Say, why don't we get the clown to 
  do something?

      GALT
  A clown?  Who's a clown??

      HERMAN
  You've heard of "Helmut Doork".  
  That's him down there!

      LUDWIG
  Don't waste your time.  You'll never 
  get the Great Doork to do anything.

 WIDER SHOT

 as he starts walking towards Helmut's bunk...

      1ST NEW PRISONER
  Oh, I'm sure he will!

 The others follow right behind.  There is a look on Keltner's 
 face like he would like to stop them, but between his puffing 
 and his certainty that Helmut will be alright, he stays where 
 he is.

 CLOSE - ADOLF

 as he walks with the others.

      ADOLF
  You're wasting your time.  He doesn't 
  perform for the likes of us... he'll 
  turn you down.

      LUDWIG
  He's right, we've been asking him 
  for three years...  I have a feeling 
  he only does his little routines for 
  the crowned heads of Europe.

      ADOLF
  And, of course, the BIG heads of 
  Berlin.

 There is general laughter... as the group arrives at Helmut's 
 bunk.

 CLOSE - HELMUT

 He sees something's going to happen, he puts his papers away 
 and sits upright... waiting... his eyes catch Galt's eyes 
 peering at him.

 Galt tells it all with his eyes... This one isn't "sacred" 
 to the men... he might just be the pigeon Galt's been hoping 
 for... the one every bully looks for, for his own brand of 
 fun.

      1ST PRISONER
  How about it, Doork?

      HELMUT
   (swinging his legs 
   around ready to jump 
   down)
  I'd like to, but I can't... really... 
  I can't.

      GALT
   (strongly)
  Can't?  Did I hear you say you can't?

      HELMUT
   (it stops him in his 
   tracks; he stays up 
   on the bunk)
  I'd like to do something... but...
   (pointing to the 2nd 
   New Prisoner)
  He can tell you... He's seen me 
  work...  I need props... make-up...  
  I work with a lot of different 
  things...

      2ND NEW PRISONER
  That's right... I did... and he does!

      HELMUT
   (in fast)
  Sure, tell them... I can't just do 
  anything...  I need lights, props, 
  my costume.

 Galt doesn't like no for an answer...

      GALT
   (gritting his teeth)
  Now, me and these... gentlemen...  
  we don't expect you to do your "act", 
  just a little something that'll give 
  us a laugh, that's all.

 Keltner moves in from o.s. and stands at the back of the 
 group watching and listening.

      LUDWIG
   (to all the men)
  Aw, forget it... and that's probably 
  his problem...  he's forgotten how!

      GALT
   (trying to suck him 
   in)
  Wait a minute, you guys... show people 
  have to be in a mood...
   (to Franz)
  Play a little music, like in a 
  circus...

 Franz starts playing his harmonica... slowly...

      GALT
  There!  Ain't that nice?  Don't it 
  put you in a mood?

      HELMUT
   (getting fed up)
  I TOLD YOU!  I need things to do my 
  act.

      2ND NEW PRISONER
  Hey, Doork, what about that drunk 
  routine... that was funny...

 Helmut looks at him puzzled... he can't think or remember 
 anything at this point... certainly not anything relating to 
 any of the previous lies he's told...

      GALT
   (pacifying his head 
   off)
  Yeah, that drunk thing...  that does 
  sound funny...

      HELMUT
  I still need many things... props 
  and...

      2ND NEW PRISONER
   (puzzled)
  I don't remember you using anything 
  in that drunk routine.

      GALT
   (starting to fume)
  Hey... are you trying to fool us?

 With this Keltner moves in and up to Galt.

      KELTNER
  Leave him alone!

      GALT
  Stay out of this, Reverend. We're 
  not doing anything... We just want 
  him to join in the fun.

      UHLMANN
   (to the men)
  Right!  If a Reverend can give us a 
  laugh, why not a clown?

 All the men ad lib their agreement with what Uhlmann just 
 said; it appears that they are all on Galt's side, and Keltner 
 knows it.

      KELTNER
   (to Helmut, softly)
  It doesn't have to be anything 
  special... a little dance, maybe?

      HELMUT
   (taking it all out on 
   Keltner)
  Like that disgusting exhibition you 
  did?  Oh, no... not me!

      4TH NEW PRISONER
  Go on, Doork, so I can tell my kids.

      HELMUT
  Can't you get it through your heads, 
  I need...

      GALT
   (firmly)
  WE need you to give us a laugh.

 Galt grabs Helmut's jacket and pulls him off the bunk, nose 
 to nose to him...

      GALT
  So... TRY!

 Galt has Helmut by the neck portion of the jacket, practically 
 choking him to death... his vice-like hands are closing in 
 on his throat and Helmut's trying vainly just to breathe...

 One of the prisoners starts pounding his feet and making a 
 march-like noise yelling from the other end... "So try!"... 
 "So try!"... "So try!"... "So try!"... the other prisoners 
 in the barracks pick up the chant and the stomping... Keltner 
 doesn't even hear the racket they've started because of his 
 concern for Helmut being choked to death... He tries to loosen 
 Galt's hands from Helmut's throat.

      KELTNER
  That's enough, leave him alone!

      GALT
  Stay out of it, Reverend!

 Galt spins Helmut around so that his back is facing the aisle 
 and he walks him into the center area... the other men feeling 
 this violence happening, and watching.  Helmut being choked, 
 triggers all of their venom and their hate and they really 
 come on strong... stomping, yelling...

      THE MEN
   (ad lib)
  Choke him harder...  see if that's 
  funny!  Make him dance! Hey, Doork!...  
  be funny now! He don't look so funny 
  to me!  He sure as hell looks funny 
  to me!  Hey, Galt, pull his string 
  and make the dummy funny!

 And they stomp and they stomp and they stomp... "So try!"... 
 "So try!"... They get louder and louder... Helmut is kicking 
 his legs, which are off the ground, and Galt won't let go.

 CLOSE - HELMUT

 His face is turning color... he hasn't a lot of air left in 
 his lungs... and Keltner is practically hanging onto Galt 
 trying to get his hands loose... and Galt could carry another 
 three men without batting an eye.  Galt puts him down slowly, 
 in the middle of the aisle, so that just his feet touch the 
 ground, but he keeps his hands around his throat.

      GALT
  Your public is calling, clown... 
  now, clown!

 WIDER SHOT

 SHOOTING OVER Galt, Keltner and Helmut, we see the door of 
 the barracks slam open and bang against the wall making more 
 noise than anything all the men made together, and they all 
 freeze...

 MED. CLOSE - THE GUARD

 He stands in the doorway, legs spread apart, hands on his 
 waist... and he is wearing a raincoat, the barracks has become 
 totally silent... all that is heard is the rain pecking away 
 on the roof.  Galt has let go of Helmut who just lays on the 
 floor with Galt and Keltner on both sides of him...

      GUARD
   (walking slowly into 
   the barracks)
  What is going on here?
   (to Helmut)
  On your feet!

 Helmut gets up, dizzily, just about getting oxygen back into 
 his system...

      GALT
   (like a little boy)
  He was showing us some of his funny 
  clown falls...

 The Guard surveys the faces of the others as they stare back.

      GUARD
  Because of all the noise coming from 
  in here -- I have been called up 
  front to explain...  I don't like to 
  be called up front...  I don't like 
  to have to explain...
   (menacingly)
  And, you might not like it, either.
   (a beat)
  Back to your bunks, all of you...  
  Turn out the lights, and keep it 
  QUIET !

 As the guard turns to the door to go, Helmut takes a step 
 forward about to stop the guard, Keltner grabs his arm and 
 turns him the other way... the Guard exits closing the door, 
 quietly behind him... The men start to disperse... Galt gives 
 Helmut a "I'll get you for this" look and returns to his own 
 bunk with Uhlmann almost up his ass following... Keltner 
 leads Helmut back to their bunk.

      HELMUT
   (whispering)
  I was just going to ask him about 
  the forms... my release...

      KELTNER
   (shaking his head)
  That was not the time, believe me!

 Keltner sits Helmut down next to him on his lower bunk, as 
 Helmut rubs his throat, and tries swallowing a few times...

      KELTNER
  Hurt much?

      HELMUT
   (beaten)
  No, I'm alright... thank you.

 They both sit in silence... Helmut breaks the silence...

      HELMUT
  Johann, why do they pick on me?  
  I've never done anything to them.

      KELTNER
  You've never done anything for them!

 Helmut dislikes Keltner's remark and gets up from the lower 
 bunk and starts up to his.  He gets to the top bunk and starts 
 to get onto it, stops and whispers to Keltner.

      HELMUT
  You think I should have performed?

      KELTNER
  The men would have appreciated it.

 Helmut rolls into his bunk, the lights go out and he lies on 
 his back staring at the ceiling.  Keltner sits on the side 
 of his bunk and takes his shoes off... periodically the rays 
 from the searchlights revolving outside cross the windows to 
 momentarily flood the barracks with light.  After a few 
 seconds, Helmut leans over to whisper to Keltner.

      HELMUT
  Johann!

      KELTNER
   (he stands up, eye 
   level with Helmut)
  What is it?

      HELMUT
  They don't believe me, do they?  I 
  mean about being a clown?

      KELTNER
  Oh, I'd say you've convinced most.  
  However --
   (a long beat)
  There is one you haven't convinced...

 Helmut stares at Keltner, knowing full well what's coming... 
 yet doesn't have the courage to take the chance that it might 
 be another thought... so he waits...

      KELTNER
   (gently)
  You, Helmut... you!

 CLOSE - HELMUT

 The truth of Keltner's charge hits Helmut with an overpowering 
 force.  He looks at Keltner for a beat... his eyes filled 
 with pain, then slowly turns away from him, leaving him 
 standing there as we PAN with Helmut and HOLD on...

 CLOSE - THE WINDOW

 The rain is pouring down.

          DISSOLVE TO:

 FULL SHOT - YARD - DAY

 It is the next morning, a chilly, damp day following a night 
 of rain.

      LOUDSPEAKER (O.S.)
  Attention!  Attention!  All prisoners 
  will assemble immediately in the 
  yard.  All prisoners will assemble 
  immediately in the yard. Attention!  
  Attention!

 The loudspeakers repeat the command.  Across the muddy, puddle 
 splotched yard, a barbed wire barricade about six feet high 
 has been erected, dividing the camp in two.  A number of 
 guards patrol the fence on both sides.

 EXT. BARRACKS H - WINDOW - DAY

 Uhlmann is looking out into the yard.  He motions to someone 
 to "take a look at this".

 INT. BARRACKS H - DAY

 Galt has just arrived at the window where Uhlmann is standing.

      UHLMANN
  They've put up barbed wire!

 MED. SHOT - FAVORING HELMUT, KELTNER

 They look at each other in wonder as they start into the 
 aisle.  The men in the barracks are frantically trying to 
 organize themselves.

 EXT. PRISON YARD - DAY

 The prisoners are pouring out of the barracks doorway.  Galt 
 and Uhlmann are already standing outside as Helmut, Keltner, 
 Herman, Adolf, Franz, Ludwig, Stout Prisoner, New Prisoners, 
 join them.  All look o.s. momentarily speechless at what 
 they see.

      GALT
  What the hell... ?

 FULL SHOT - YARD - PRISONERS' POV

 Beyond the fence we see men, women and children standing in 
 groups near the barracks on that side of the camp.  The SOUND 
 of children crying can be heard.

 VARIOUS SHOTS - MEN

 As they quickly scurry to line up in front of their own hut.

      STOUT PRISONER
  Youngsters!  They've got youngsters 
  over there.

      YOUNG PRISONER
  Women!

      ADOLF
  Another fence!

 MED. SHOT - PRISONERS - FAVORING KELTNER

 Helmut stands next to him.

      HELMUT
  What does it mean?  What do they 
  need a fence for?

      KELTNER
   (shaking his head)
  Misery loves company.  Looks like 
  they're going to deny us even that.

 The Guard is shoving the late-comers into place.

      GUARD
  All right.  All right, move.  Hurry 
  it up.  Move.

 ANOTHER ANGLE

 SHOOTING ACROSS the prisoners in f.g. toward the new fence.  
 Guards move among the men, herding them into lines.  On the 
 other side of the fence, we can see the new arrivals lining 
 up, being prodded into place by Guards.

 LONG SHOT - PRISON YARD - DAY

 On both sides of the fence, the prison inmates have assembled 
 in the wet, forbidden yard.  On one side are the regular 
 prisoners, who watch the guards warily as they straighten 
 their lines.  On the other side are the new prisoners -- 
 about two hundred frightened Jews of all ages, including 
 thirty or forty children and a number of very old men and 
 women.  They stand in absolute silence as the loudspeakers 
 blare again, except for the crying children.

      LOUDSPEAKER
  Attention!  The Commandant issues 
  the following special order:  the 
  north side of the camp is now 
  temporary quarters for non-Aryan 
  prisoners.  Fraternizing between 
  Aryan and non-Aryan prisoners is 
  strictly prohibited.  Any violation 
  of this order will be severely 
  punished.  Heil Hitler... Repeating...

 ANOTHER ANGLE

 SHOOTING THROUGH the booted, outspread legs of a soldier 
 guard in f.g. toward the line of prisoners behind him.  One 
 woman holds a child of about three who cries inconsolably.

      LOUDSPEAKER
  The Commandant issues the following 
  special order:

 As the announcement is read, the guard's legs turn around, 
 and he walks away from the CAMERA toward the woman.  He stands 
 before her menacingly, and she clutches the child closer to 
 her in a futile attempt to hush its crying.

      LOUDSPEAKER
  The north side of the camp is now 
  temporary quarters for non-Aryan 
  prisoners.  Fraternizing between 
  Aryan and non-Aryan prisoners is...

 MED. SHOT - PRISONERS

 SHOOTING along line of prisoners from barracks H to show 
 their various reactions as the announcement continues -- 
 disdain, surprise, sympathy and relief.  The guard stands 
 with his back to the line at the end farthest from the CAMERA.  
 Galt is near the CAMERA.

      GALT
   (under his breath)
  Jews!

 Prisoners nearest to Galt eye him questioningly.

      LOUDSPEAKER
  ... strictly prohibited.  Any 
  violation of this order will be 
  severely punished.  Heil Hitler.

 The loudspeakers go dead.  The prisoners stand silently 
 studying the new arrivals across the yard.  The new prisoners 
 self-consciously file back into their huts on the other side 
 of the fence.  As the prisoners begin to break rank --

      GUARD
  Prisoners from barracks H remain in 
  line.  Barracks H will remain in 
  line.

 The prisoners turn and look in direction of the Guard as 
 they straighten their lines.  The guard paces slowly along 
 the line inspecting it silently.  On the fringes of the scene, 
 we can see prisoners from other barracks gathering to see 
 what their fellow convicts are in for.

 MED. CLOSE SHOT - GUARD

 Finally he stops and contemplates his shabby charges with 
 disgust.

      GUARD
  I said last night I didn't think I 
  would enjoy being called up to account 
  for the noise coming from barracks 
  H.  I can tell you this morning I 
  didn't enjoy it.

 He walks down the line, looking at each man.

      GUARD
  I don't know what caused the trouble 
  last night, but I'm not blaming you 
  entirely.
   (fatherly)
  I failed you.  I should have seen 
  that you all have much too much energy 
  for the confined life you lead here.
   (he smiles benevolently)

      GUARD
  We're going to correct that.  I've 
  been told that energy comes from 
  food.

 MED. SHOT - PRISONERS

 Their faces reflect that they know what is coming.

 ANOTHER ANGLE

 SHOOTING PAST the line of prisoners in f.g. to the Guard, 
 who has paused to let his words sink in.

      GUARD
  So... to help you... all rations are 
  canceled for the next... forty-eight 
  hours.

 A hushed ripple of ad lib grumbling and growling rolls along 
 the line of prisoners.

      GUARD
  And, if that doesn't quiet you down, 
  I'll think of some other ideas you'll 
  like even less. I'm going to make 
  this barracks the quietest in the 
  camp.
   (roaring)
  Is that clear?

 The prisoners are silent but their faces register their 
 resentment.

      GUARD
  Now, don't blame me.
   (with sly meaning)
  I didn't start the trouble last night.

 The truth of what he has said is reflected in the faces of 
 the men.

      GUARD
  Fall out.

 ANOTHER ANGLE - FAVORING HELMUT, KELTNER

 As they stand with the other prisoners, watching the guard 
 move off.  Keltner looks worried, the others are angry, Helmut 
 seems undecided as his eyes follow the guard.

      HERMAN
  Bastard!

      STOUT PRISONER
  I can't go without food. I'll starve.

 Suddenly Helmut makes up his mind and starts off after the 
 Guard.  Keltner, sensing the mood of the men, puts a 
 restraining hand on his arm, whispers to him hoarsely.

      KELTNER
  Helmut, don't.

 But Helmut shakes him off and hurries away.

 The other prisoners notice where he is headed and exchange 
 looks.  Keltner shakes his head.  Galt's eyes narrow as he 
 watches Helmut run off after the guard.

      GALT
   (loudly)
  He's the one we can thank for the 
  diet.

 MED. SHOT - GUARD - MOVING

 The CAMERA MOVES BACKWARD as the Guard strides toward it, 
 his face sour.  Behind him we can see Helmut running to catch 
 up to him.  When he is close enough...

      HELMUT
  Sir?  Corporal...

 The guard stops and turns so abruptly that Helmut almost 
 runs into him.

      GUARD
  What?

      HELMUT
   (obsequiously)
  Doork.  Helmut Doork.  Remember?  
  The papers... You said... Remember 
  the special forms for the Gestapo to 
  review my case.

      GUARD
  No papers.

 He stalks off.  Helmut starts to say something more but thinks 
 better of it.  Crushed, he starts back towards his barracks, 
 head down.  He walks sadly for several steps, then looks up 
 and stops, his expression changing to one of uneasiness.

 MED. SHOT - PRISONERS - HELMUT'S POV

 A dozen of Helmut's barracks-mates, including Galt, Uhlmann, 
 Adolf, Ludwig, Herman, the Stout Prisoner, several of the 
 New Prisoners, are drifting across the yard towards him, and 
 the looks on many faces bode no good for Helmut.

 FULL SHOT - HELMUT, PRISONERS

 The men converge and form a half circle around him.

 As the men close in on him, he moves back until we cna see 
 the barbed wire fence behind him.  Helmut senses their 
 disposition and remains warily silent.  Keltner and Franz 
 stand slightly behind the pack.

      GALT
  What'd you say now, Mr. Doork, 
  Almighty!
   (to men)
  Last night he wouldn't give us a 
  laugh.  Today they won't give us 
  food.

      LUDWIG
   (venomously)
  What were you doing?  Making a deal 
  with your guard pal to slip you some 
  food?

      HELMUT
   (indignantly)
  No!  I was asking him about the forms 
  he'd promised to get me.
   (admonishing)
  Because of last night... I'm not 
  getting them.

 Keltner, seeing how disappointed Helmut is, moves up through 
 the group.

      KELTNER
   (encouragingly)
  When this blows over, Helmut, we'll...

      LUDWIG
   (interrupting)
  Don't feel sorry for him.  He's got 
  no one to blame but himself.  The 
  whole thing was his doing.

      ADOLF
  He's been telling us how great he 
  is; how funny.  Why?  Why couldn't 
  he have done a trick or two for us?

      UHLMANN
  The Reverend did a turn.  What's so 
  special about him?

 The men voice agreement... Helmut should have performed.  
 Helmut starts to go around one end of the semi-circle but 
 the men bar his way.

      KELTNER
  Don't start anything here.  We're in 
  enough trouble.

 The other prisoners in the b.g., those who have remained in 
 the yard to see what was going to happen to the men of 
 barracks H, sense trouble, the kind they want no part of, 
 and begin scurrying back to their own barracks.

      UHLMANN
  We're not starting anything, we're 
  finishing something.

      GALT
  We've decided Doork here is going to 
  keep us laughing so hard we won't be 
  able to hear our stomachs growling.

      STOUT PRISONER
  Better hurry it up, clown.  'Cause 
  my stomach's growling already. Can 
  you hear it?

      HERMAN
  Hear it!  The whole place hears it.

 The men take a few steps toward Helmut as they call for him 
 to perform.

      MEN
  Yeah, Doork, do a trick. How about 
  that night in Munich when they 
  wouldn't stop laughing.  How about 
  it, Doork? Come on, just a little 
  trick.  Give us one laugh.  That's 
  all we're asking for.  Come on, 
  Helmut, do something.

 Helmut, hoping to stall the inevitable, still hoping to 
 preserve for a while longer his beautiful myth of being a 
 great clown, holds up his hands for the men to be quiet.  
 Franz interpreting the gesture as giving in to the demands 
 of the men...

      FRANZ
   (excitedly)
  He's going to do it!  He's going to 
  do it!

 The men quiet down and move back a few steps to give Helmut 
 room.

      HELMUT
   (grandly)
  Nothing pleases an artist more than 
  to perform.  I'm going to do a real 
  show for you.  All I ask is that you 
  give me a little time...  time to 
  get things together...  things I can 
  use as props...  I'll even try to 
  make a costume, and...

      ADOLF
  You don't need a costume.  We've got 
  imagination.

      (TO MEN)
  Right?

 Murmurs of agreement.

      HERMAN
  Do the drunk pretzel like the kid 
  suggested last night.

      GALT
   (commanding)
  And do it now, clown.  No more 
  stalling.

 Helmut, still trying to hold on to his dream of greatness, 
 draws himself up proudly and begins to move forward.

      HELMUT
  Let me through.

      ADOLF
  Aren't we good enough for you?

      LUDWIG
  He'd do his tricks fast enough if 
  his guard pal asked him.  Wouldn't 
  you, Doork?

 As the mention of the word "guard" the mood of the men turns 
 ugly.

 MED. SHOT - PRISONERS - HELMUT'S POV

 Their faces show their determination that Helmut will perform 
 or... else.

      KELTNER
  Do something, Karl.  For God's sake, 
  do something.

      GALT
  And be sure it's funny.

 MED. SHOT - HELMUT, GALT

 Helmut is frightened.  He strains to look beyond the men for 
 help.  He opens his mouth to scream for the Guard, but Galt 
 puts his hand over Helmut's mouth.

      GALT
   (his face pressed 
   close to Helmut's)
  You make us scream... scream with 
  laughter...  or I'll tear you to 
  shreds on the wire.

 Galt presses Helmut right up to the barbed wire fence so he 
 can feel the barbs in his back.

 FULL SHOT - HELMUT, MEN

 Galt takes his hand away from Helmut's mouth.  Helmut doesn't 
 utter a sound.  He knows that Galt and the men mean business 
 and he now must do something.  He nods his head.

      HELMUT
  All right... all right.

 The men move back to give him room.  Frantically, he tries 
 to think of something to do... he knows it must be great... 
 or else his myth will explode.  He walks around in a little 
 circle, trying, trying to think of something.  Finally he 
 faces them.  He bows his legs and pretends he's a bow-legged 
 man trying to walk a high wire, but he's so frightened the 
 result is pathetic, not funny.

 PAN SHOT - PRISONERS

 The camera works across their faces, which are expressionless.

 MED. SHOT - HELMUT

 Seeing that he is getting no reaction from his "audience", 
 Helmut tries something else.

 He pulls his shirt over his head and walks around like a 
 headless man.  He pretends to trip over some unseen object, 
 peers through the front of his shirt at it, and stamps on 
 the object.  Again he tries to walk over it, and again he 
 slips.

 MED. SHOT - HELMUT, MEN

 as Helmut starts to repeat the same routine, many of the men 
 are openly contemptuous.  Galt wears a smirk.  Keltner, unable 
 to watch Helmut's degradation, moves away.  Others express 
 their disappointment, their disdain.

      MEN
  If he's Germany's greatest clown, 
  God help the Fatherland.  Doork, the 
  Great!  You got paid for that?  To 
  go without food is bad enough, but 
  to have to watch that!

      2ND NEW PRISONER
   (accusingly)
  You're not the clown I saw.  You 
  lied.  You're big all right.  A big 
  liar.

      4TH NEW PRISONER
   (contemptuously)
  And I was going to tell my kids!

      UHLMANN
  He's no clown.  Not even a bad one.

      HELMUT
  I am.  I am a clown!

 They move away from him.

      HELMUT
   (continuing)
  Give me a chance.  I just got started.

 But the men continue to walk away.  Helmut tries to do a 
 hand stand, but his hands slip in the mud, and he lands 
 ignominously on all fours.  When he looks up, only Adolf, 
 Galt and Uhlmann remain.

      ADOLF
   (sadly)
  That's what we've been eating our 
  hearts out to see!
   (a beat)
  You stink.  You really stink.

      HELMUT
  I... I slipped.   I can do it.

 Seeing the disbelief on their faces, Helmut becomes almost 
 hysterical.  He is still on his knees.

      HELMUT
  I am a clown.   I am.  I am.

 He pounds on the ground in frustration.  Galt spits 
 contemptuously, and the three start to leave.  Galt turns 
 back, looks down at Helmut.  Very deliberately, he comes 
 forward to stand at a mud puddle.

      GALT
  Doork the Great.

 With that he kicks a shower of mud directly into Helmut's 
 face.

 CLOSE SHOT - HELMUT

 The mud splatters over his face.  He cries out.  His hands 
 go to his eyes instinctively.  he kneels there, rocking back 
 and forth in misery.  Then from o.s., we HEAR a tiny, 
 tentative laugh -- the tiniest laugh ever heard.  Helmut 
 looks up quickly.  He isn't sure that he heard it.

 Then it comes again, a little stronger.  He looks around 
 quickly to see who has come back to taunt him, to ridicule 
 him.

 LONG SHOT - PRISON YARD - HELMUT'S POV

 The yard is empty except for a few prisoners from other 
 barracks way off on the other side.

 CLOSE SHOT - HELMUT

 He is puzzled.  Then again he hears the laugh o.s.  He turns 
 slowly to look behind him.

 MED. SHOT - BOY - HELMUT'S POV

 On the other side of the fence stands a wide-eyed boy of 
 about eight, who is watching Helmut timidly.  The ragged 
 youngster laughs again, hesitantly, as if unsure what Helmut 
 is doing is supposed to be funny, but finding it so 
 nevertheless.

 CLOSE SHOT - HELMUT

 He looks uncertainly at the youngster.  Is the child 
 ridiculing him, too?  He leans over the mud puddle and looks 
 at his reflection.  He likes what he sees.  The mud on his 
 face looks almost like a primitive clown mask.  Very 
 deliberately Helmut scoops up more mud and puts a blob of it 
 on the end of his nose.  He waits for the child's reaction.

 CLOSE SHOT - BOY

 His eyes are laughing, but his little lips are pressed tight 
 together.  He has been taught not to make sounds... not even 
 sounds of laughter.  But finally what he is looking at becomes 
 too much for him and the laughter spills out between his 
 lips as they form a smile.  He laughs delightedly now, 
 satisfied that Helmut is being purposely amusing.

 TWO SHOT - HELMUT, BOY

 Helmut gets to his feet, bows slightly and stiffly to the 
 child, and then attempts another hand stand.  This time he 
 holds himself up for a moment and then deliberately allows 
 himself to fall on his back in the mud.

 CLOSE SHOT - HELMUT

 As he lands, he quickly glances off towards his barracks, 
 but from the look of disappointment on his face, we know 
 that none of his barracks mates are watching.  When he hears 
 more laughter from o.s., he quickly rolls on his side to 
 look.

 MED. SHOT - CHILDREN - HELMUT'S POV

 Two more youngsters have joined the first, and all are 
 laughing excitedly.  The first child jumps up and down, 
 clapping his hands.

 WIDER ANGLE - FROM THE FENCE - FAVORING HELMUT

 Helmut gets up and bows, more deeply this time, a tribute to 
 the children's vindication for his claim that he is a clown.  
 He turns toward the direction of his barracks.

      HELMUT
   (screaming at top of 
   voice)
  Come back, damn you, come back.  The 
  children... they're laughing.  They're 
  laughing.  I am a clown.  I am a 
  clown.

 He turns back to the children and again bows.  He quickly 
 leans down, looks at his reflection in the puddle, and scoops 
 up a handful of mud which he plasters on his nose to make a 
 bulbous, artificial proboscis.  He turns back to the children 
 and in pantomime, pretends to see a fly buzzing about and 
 tries to swat it.  The imaginary fly buzzes closer.  The 
 CAMERA MOVES UP to --

 CLOSE SHOT - HELMUT

 As the "fly" lands on his nose.  He looks cross-eyed at the 
 mud blob, then swats at it.  The blob falls off.

 MED. SHOT - CHILDREN

 There are now nine or ten youngsters at the fence, all 
 squealing with delight.

 CLOSE SHOT - HELMUT

 He bows again, and as his head comes up he looks o.s. toward 
 his barracks, still hoping that someone will be watching his 
 "great" success.  When he turns back to the children, we see 
 that he continues to smile -- while tears course down his 
 cheeks through the mud still caked on them.

          DISSOLVE TO:

 EXT. MESS HALL - DAY

 The last barracks on the open end of the camp on the political 
 prisoners' side.  Outside the building is a low counter 
 arrangement with two prisoners behind it serving mush and 
 black bread to a long line of men, all of whom carry bowls 
 and spoons.

 This time in mid-July, three weeks after the incident at the 
 fence.  The day is bright and hot.  Our ANGLE FAVORS Helmut 
 as he nears the prisoner who is serving up the mush.

 MED. SHOT - HELMUT

 As he moves up to be served and holds out his bowl.  The 
 prisoner - messman spoons a blob of mush into it.  Then he 
 looks around quickly and, before Helmut can pull back his 
 bowl, slops another half spoonful into it with a wink at 
 Helmut, who gives him a grateful smile in return.  Helmut 
 moves on to the bread server, who gives him a big grin as he 
 slips two pieces of bread into the bowl on top of the mush.  
 Helmut hurries away, the CAMERA FOLLOWING him.

 He walks strangely, as if having trouble controlling his own 
 feet.  Helmut ducks around the corner of the barracks nearest 
 the mess hall, then peers cautiously back into the main yard.  
 Satisfied that he hasn't been noticed, he quickly puts one 
 piece of bread into his pocket and takes out his spoon.  
 Holding the second piece of bread beneath the bowl, he wolfs 
 down a few mouthfuls of the mush.  Then he smooths out the 
 remainder with the spoon to make the mush appear untouched. 
  He places the one slice of bread back on top of it, and 
 studies the end result.  Nodding approval, he licks his spoon 
 clean and puts it back in his pocket.  He goes back around 
 the corner of the barracks into the main yard and heads for 
 the next building.

 CLOSE SHOT - BARE FEET

 This pair of massive feet are the property of the Big 
 Prisoner, a massive hulk of a man.

      OLD PRISONER'S VOICE
  Don't know how you can go without 
  shoes.  Soles of my feet are too 
  sensitive.

 The CAMERA PANS UPWARD to the Big Prisoner and an Old 
 Prisoner, sitting against the side of their hut.  The Old 
 Prisoner, a frail man, with shirt off, is finishing his mush.

      BIG PRISONER
  It's my stomach that's sensitive.

      OLD PRISONER
   (looking o.s., smiles)
  Here comes your second helping.

 As Helmut's feet walk into FRAME and stop next to the Big 
 Prisoner, we see the reason for his peculiar walk.  He is 
 wearing a pair of enormous shoes, many sizes too large for 
 him and cut open along the soles from the toes to the insteps 
 so that they flap as he moves along.

 ANOTHER ANGLE

 as Helmut joins them and holds out his bowl of bread and 
 mush to the Big Prisoner.

      HELMUT
  Here.

 Still grinning, the Big Prisoner puts his empty bowl on the 
 ground beside him and takes Helmut's bowl.  Holding the bread 
 aside, he digs into the mush.  Helmut watches him eat, his 
 own hunger written all over his face.  After a few bites, 
 this makes the Big Prisoner a little self-concious.

      BIG PRISONER
  How're the shoes?

      HELMUT
  Perfect.

 The Big Prisoner nods and goes back to eating, satisfied 
 that he has made a fair bargain and shouldn't be embarrassed 
 about taking Helmut's food.

      HELMUT
  Don't forget the bowl.

 The Big Prisoner, his mouth full of mush, only nods.  Helmut, 
 tearing his eyes from the food, moves off.  The Big Prisoner 
 watches him go.  Suddenly, he looks down at the departing 
 Helmut's feet, and his face darkens.

      BIG PRISONER
   (irked)
  Hey, Doork!

 Helmut stops and turns as the Big Prisoner shoves himself 
 away from the hut and goes to him, staring down at the shoes.

      BIG PRISONER
  My shoes!

 The Big Prisoner reaches out with the large toe of one bare 
 foot and lifts up the flapping toe of one of Helmut's shoes.  
 He lets it drop again.

      BIG PRISONER
  I said you could use 'em, not ruin 
  'em.

      HELMUT
  I had to fix them this way...  for 
  the act, you know.  Wait till you 
  see how funny it is.

      BIG PRISONER
  Yeah.  But will I feel like laughing 
  when it gets cold!

      HELMUT
  Don't worry.

      BIG PRISONER
  Worry!  I'm the one who'll get frost 
  bitten toes, not you.

      HELMUT
  When I return them, they'll be like 
  new.  I promise.

 The Old Prisoner has finished his mush and puts his bowl 
 down on the ground and moves forward to join Helmut and the 
 Big Prisoner.

      BIG PRISONER
  For what you've done to my shoes I 
  should get more food.

      OLD PRISONER
  He's got to have something to eat.

 The Big Prisoner looks at him questioningly.

      OLD PRISONER
   (continuing)
  If he gives you his other meal...  
  he'll starve to death.  Then you 
  won't get anything.

 This reasoning makes sense to the Big Prisoner.

      BIG PRISONER
   (to Helmut)
  Remember... you fix them before you 
  bring 'em back.

      HELMUT
  Promise.

 Helmut shakes his head "yes", turns and quickly hustles off 
 in the direction of his own barracks, the CAMERA MOVING with 
 him.  After a few steps.

      BIG PRISONER'S VOICE
  Doork!

 MED. SHOT - BIG PRISONER - HELMUT'S POV

 The Big Prisoner looks at Helmut, then at the piece of bread 
 Helmut had given him.  His manner is self-conscious.  He 
 tosses the piece of bread to Helmut.

 MED. SHOT - HELMUT, BIG PRISONER, OLD PRISONER

 Helmut catches the bread, his smile expressing his thanks.  
 The Old Prisoner puts his arm around the Big Prisoner's 
 shoulder, while the Big Prisoner tries not to show that he 
 is pleased with himself for his "generous" act.

 MED. SHOT - HELMUT

 Taking bites of the bread, Helmut, rather jauntily, lopes 
 off toward his own barracks.  As he moves among the other 
 prisoners, the CAMERA MOVING with him, we see many of them 
 point or nod toward Helmut and smile good-naturedly.  Helmut 
 is completely unaware of them, so lost is he in his own 
 thoughts.

 EXT. BARRACKS H - MED. SHOT - KELTNER, FRANZ, HERMAN - DAY

 They sit in the shade beside their barracks.  Herman is using 
 his empty bowl as a fan.  Keltner is just finishing his food.  
 Franz is examining his jacket, his empty bowl beside him on 
 the ground.

      FRANZ (IRRITATED)
  I mean it this time.

      KELTNER
  Don't tell us.  Tell him.

 Franz holds up the tattered jacket to show that a button is 
 missing.

      FRANZ
  What am I supposed to do? Use pins?

      HERMAN
  Who has a pin?

 Keltner chuckles.

      FRANZ
  You can laugh.  He isn't always after 
  you for something.

      KELTNER
  No?

 He fishes in a pocket and pulls out a large piece of chalk, 
 holds it up.

      FRANZ
  What's that?

      KELTNER
  Chalk.

      FRANZ
  What for?

      KELTNER (SHRUGS)
  Says he can mash it into a powder 
  and put it on his face.

 Herman stops fanning along enough to ask...

      HERMAN
  Where'd you get it?

      KELTNER
  From a guard.

 Astonished, Herman and Franz look at him questioningly.

      KELTNER
   (lowers his voice)
  A very bad Nazi.  Still has a heart.

 Herman and Franz smile.  Then Franz holds up his tattered 
 coat.

      FRANZ
  I wish he'd have a heart and use 
  someone else's coat. Or better yet -- 
  his own.

      KELTNER
   (looking o.s. and 
   nodding)
  Ask him.

 WIDER ANGLE - FAVORING HELMUT

 As he comes flapping up, still munching on the piece of bread 
 given to him by the Big Prisoner.  Keltner holds out the 
 chalk to him.

      KELTNER
  Finally got it.

 Helmut takes it and examines it in a very professional manner.  
 Herman and Franz exchange looks.  Keltner waits for Helmut 
 to speak.

      KELTNER
   (a little annoyed)
  Isn't that what you wanted?

      HELMUT
   (holding up the chalk)
  This will do more for the act than 
  anything.  Wait'll you see!

      KELTNER
   (a sigh of relief)
  For a moment there you had me worried.

      FRANZ
   (indicating bread 
   Helmut's nibbling on)
  I see you got smart.

      HELMUT
  His conscience bothered him.

      KELTNER
  I thought he would kill you when he 
  saw what you had done to his shoes.

      HELMUT
   (sheepishly)
  So did I.

 The men laugh.

      FRANZ
  I don't know what I'm laughing at...  
  look at what he's doing to my coat.
   (holds it up)
  Look at it!  Yesterday a button off.

 And you've got it ripped here under the arm.  Besides all 
 that falling down isn't doing it any good.

      HELMUT
   (firmly)
  I've got to have it.  It is the only 
  one I can get on and still is tight 
  enough to look funny.

      FRANZ
  At the rate you are tearing it up, 
  it's going to look a lot funnier.

 ANOTHER ANGLE

 SHOOTING PAST Helmut and group and in f.g. toward the main 
 yard, where we see Galt and Uhlmann approaching.  During the 
 ensuing dialogue, Galt spots Helmut, nudges Uhlmann and 
 together they come toward him.

      KELTNER
  Give in, Franz.  You know he's going 
  to talk you out of it again.

      HELMUT
  I'll be careful.  I swear. Besides, 
  I've got to have it. I explained 
  before...  a clown can't change his 
  costume.  It's his trademark.

      FRANZ
  I know... I know... but...

 Galt and Uhlmann join the group, looking to start trouble.

      GALT
   (interrupting)
  Why should he give it to a Jew clown?  
  Right, kid?

      FRANZ
  That's got nothing to do with it.

      GALT
  What's the matter with you bastards 
  anyway?  All he ever did for us was 
  cause trouble, but for them...
   (nodding toward the 
   other side)
  ... he can't do enough.
   (a beat)
  I say he's one of them.

      KELTNER
   (coolly)
  If he were, he'd be over there

 Through this Helmut remains silent -- his eyes focused on 
 the coat.

      GALT
  That's where he belongs.

 Franz and Keltner get to their feet.  Herman remains seated.

      FRANZ
  What're you so hot about?  It's no 
  skin off your...

      UHLMANN
   (cutting in)
  We've got a good reason for not liking 
  them.

      GALT
  If it wasn't for them... we wouldn't 
  be in here.

 This surprises the men.  Herman gets to his feet.

      HERMAN
  What'd you mean?

      UHLMANN
  A bunch of them got picked up with 
  papers we'd sold them.   And what'd 
  they do?  Turn us in, they did.  The 
  ungrateful...

      KELTNER
  So that was it!  Counterfeit papers.  
  I can imagine the prices.

      GALT
  Supply and demand, Reverend.  Supply 
  and demand.

 Deliberately, Franz hands his coat to Helmut.

      FRANZ
  Take it, Doork -- anytime you want 
  it.

 Helmut accepts the coat... nodding his head in the gracious 
 manner of a ruler accepting homage from a faithful subject.  
 He turns smartly and slowly struts away with as much dignity 
 as he can muster in his big shoes which flap with every step 
 he takes.  The others stand and stare at Galt and Uhlmann.

      UHLMANN
  What's so terrible about what we 
  did?  Lot of them got out of the 
  country with our papers.  They were 
  damn good counterfeits.

 Keltner, without a word, turns and goes off after Helmut.

      GALT
   (calling to Keltner, 
   very proudly)
  And what's more, we never charged 
  for children.  Never.

 MED. SHOT - HELMUT, KELTNER

 As Keltner catches up with Helmut.  The CAMERA MOVES BACK as 
 they walk along the side of the barracks toward the door.

      KELTNER
  I've been meaning to ask you.  Heard 
  anymore about the request for a review 
  of your case?

 Helmut doesn't hear him as he's deep in his own thoughts.

      HELMUT
  Did you hear the laughs I got 
  yesterday?

 Keltner nods.

      HELMUT
  Not just from the children... but 
  the adults, too.

 You know where a lot of clowns make a big mistake?  They 
 play just for the children.

 They forget... it's the parents, the adults that buy the 
 tickets.

      KELTNER
  Never thought of that.

 Helmut stops, faces Keltner, a sly smile on his face.

      HELMUT
  They said I couldn't come up with 
  anything new.

 Keltner looks puzzled.

      HELMUT
  At the circus.  Schmidt and the rest.  
  Wait'll they see my act now.  It's 
  funny.  Really funny.
   (a beat)
  Isn't it?

      KELTNER
  The children certainly enjoy it.

 Helmut begins to move along again with Keltner following.

      HELMUT
  What I needed was time.  Time to 
  concentrate on new material.  A man's 
  got to have time alone.

      KELTNER
   (glancing around)
  You call this being alone?

 Helmut takes a few more steps then stops short.

      HELMUT
  Do you think... maybe... they'd let 
  me go to other camps and entertain?

 Keltner is about to say something... but shrugs his shoulders.  
 He knows there's not much point in trying to make Helmut 
 look at things the way they really are.  Helmut starts to 
 walk again.

      HELMUT
  I'd have to get to the Commandant.  
  Would need his permission.

 They arrive at the steps to the barracks.  Helmut swings 
 Franz's coat over his shoulder as he starts up the steps.

      HELMUT
  If you have time later, I'd like you 
  to see something I've been working 
  on.  I hunch down and do a tiny 
  soldier parading.  Think they'll 
  like it?

      KELTNER
   (pointedly)
  Who?  The adults?

      HELMUT
   (matter of fact)
  The children, of course.

      KELTNER
  I thought the smart clown only played 
  to the adults.

 Helmut, caught in a contradiction of his own "theory" of 
 clowning, gives Keltner an annoyed look, then goes into the 
 barracks letting the door slam behind him.

 CLOSE SHOT - KELTNER

 As he stands at the bottom of the steps -- he shakes his 
 head and smiles as he marvels at the change taking place in 
 the pompous Helmut as the little gentle clown within him 
 struggles to emerge.

          DISSOLVE TO:

 EXT. PRISON YARD - PAN SHOT - CHILDREN - DAY

 The CAMERA is PANNING across the faces of about forty children 
 behind the fence as they watch Helmut o.s.  Some of them are 
 laughing; some clapping; some squealing with glee, and a few 
 just watching quietly, but with laughter in their eyes.  
 Behind them, near the barracks on the non-Aryan side, a number 
 of adults also are looking on, but they hang back, fearful 
 that getting too close to the fence might provoke the always 
 anticipated wrath of the guards.

 EXT. PRISON YARD - FULL SHOT - DAY

 We see now that Helmut on his side of the fence is performing 
 for the children on the other side of the menacing barbed 
 wire fence.  Behind him, also at a safe distance because 
 they still aren't certain of the official reaction to all of 
 this, a number of his fellow political prisoners are watching 
 his antics.  But, in spite of his talk about the importance 
 of playing to the adults -- it is the children that Helmut 
 plays to -- and it is for their laughter that he listens.  
 The CAMERA MOVES IN to --

 MED. FULL SHOT - HELMUT

 And we see that he has used the chalk to whiten his face.  
 With charcoal he has blackened his eyebrows, formed a wide 
 black mouth and drawn lines down over his eyelids to his 
 cheekbones, giving him the appearance of a clown at once sad 
 and happy.  At the moment he is coatless, but Franz's coast 
 lies nearby on the ground.  For the stunt he is doing now 
 Helmut carries the remains of an old broom and a piece of 
 cardboard.  He is trying to sweep a small heap of dirt he 
 has gathered onto the cardboard, but each time he tries, the 
 dirt goes over the cardboard and he must sweep it into a 
 pile again.  After a few attempts he feigns exasperation and 
 ponders the problem.  Inspiration comes.  He sweeps the dirt 
 into a pile again, bends over and very carefully sweeps it 
 into the front of one of his shoes, holding up the split top 
 to let it in.  This accomplished, he is very proud of himself, 
 but when he tries to take a step, some of the dirt comes 
 out.  Frustrated, he ponders again, and again has an 
 inspiration.  He removes the shoe and puts it under his arm.  
 But as he walks away with it, all the dirt slides out through 
 the open toe.  The children roar with delight.

 CLOSE SHOT - LITTLE GIRL

 She is a flaxen-haired youngster of about five who holds a 
 weathered rag doll as she jumps up and down for sheer joy at 
 Helmut's performance.

 CLOSE SHOT - LITTLE BOY

 He is a completely delighted boy of perhaps seven.  Each 
 time Helmut does something he particularly enjoys he hugs 
 himself and spins around.

 CLOSE SHOT - BROTHER AND SISTER

 The girl is no more than four; the boy about eight.  He clings 
 to her hand as they watch Helmut, unsmiling, perhaps not 
 understanding.  The boy looks at his sister, and a tiny smile 
 tugs at her mouth.  The boy smiles back.  The girl giggles.  
 The boy laughs outright.  They have re-discovered happiness.

 They look back at Helmut, both laughing.

 CLOSE SHOT - SISTERS

 The older girl is ten or eleven; her sister five or six, 
 tugs at her arm, and the older girl bends down to her.  The 
 younger girl whispers to her, pointing to Helmut, and the 
 older girl picks her up.  The little one puts her arms tightly 
 around her sister's neck.  Both laugh merrily.

 MED. FULL SHOT - HELMUT

 He is putting on Franz's too-small jacket.  He tries to button 
 it, but it won't go around him.  He sucks in his belly, but 
 then his pants begin to slip, and he grabs at them with an 
 embarrassed look at the laughing children.

 Deciding that the only way to button the coat is to hunch 
 his shoulders, he tries that, but now his shoulders must 
 remain hunched.  He manages to pick up the broom and puts it 
 over his shoulder, playing soldier.  But when he tries to 
 snap to attention, the coat pops open again, bringing another 
 roar of laughter from Helmut's audience.

 Now he marches a few steps toward the CAMERA, stops, snappily 
 puts the rifle down at rest position and salutes -- knocking 
 himself flat.  Another roar of laughter.  As it swells, we --

 PAN SHOT - JEWISH PRISONERS

 The laughter o.s. continues to swell as the CAMERA PANS across 
 the faces of the adult Jewish prisoners huddled near their 
 huts.  They smile, fearfully at first, then break into 
 timorous laughter.

 ARYAN PRISONERS - PAN SHOT

 As the laughter swells even more, the CAMERA MOVES over the 
 faces of the political prisoners on Helmut's side of the 
 camp.  They, too, are laughing -- some tolerantly; some at 
 Helmut rather than with him, but they are laughing.

 As the laughter continues to SWELL, the CAMERA PANS over to 
 yard-guard.  He is trying very hard not to laugh.  The result 
 is a self-conscious giggle.

 As the laughter grows even louder, the CAMERA PANS as though 
 wafted on the waves of laughter, up to a guardtower, and we 
 see two rifle-armed soldiers in the tower watching the 
 performance below them.  They gesture in Helmut's direction 
 and laugh.

 The CAMERA continues to PAN over to the administration 
 building and UP to an open window on the second floor.

           CUT TO:

 INT. COMMANDANT'S OFFICE - FULL SHOT - DAY

 LT. SCHARFF, handsome, mid-30's, stands with his back to 
 CAMERA at an open window in a small, but luxuriously furnished 
 office.  The window through which he is looking opens onto 
 the prison yard.  An AIDE pokes his head in the doorway.

      AIDE
   (in a loud whisper)
  He's coming back down the hall.

 Scharff nods, quickly closes the window, gives a look around 
 the room, and follows the Aide out.

           CUT TO:

 INT. COMMANDANT'S OUTER OFFICE - FULL SHOT

 As Scharff comes through the door from the adjoining room.  
 The Aide is standing in front of a small desk.  Scharff takes 
 his position beside the door into the outer office.  They 
 wait.  After a beat, the room's other door opens and in comes 
 COL. HEINRICH BESTLER, a slightly built, pinch-faced SS 
 officer in his 50's.  Scharff and Aide spring to attention 
 and give him the salute.

      SCHARFF AND AIDE
  Heil Hitler.

      BESTLER
  Heil Hitler.
   (striding into his 
   inner office as he 
   passes Scharff)

      BESTLER
   (continuing)
  Come in.

           CUT TO:

 INT. COMMANDANT'S OFFICE - FULL SHOT

 Bestler goes directly to the desk and sits down.  Scharff 
 stands at attention just inside the door.

      BESTLER
  Oh, stand at ease.  And, close the 
  door.

 Scharff closes the door and moves over to stand near the 
 desk.

      BESTLER
  I don't have to tell you why your 
  Commandant was relieved of his command 
  here. This prison is a disgrace.  
  Disgrace! The latitude allowed by 
  him will not be tolerated by me.  
  Understand?

 Scharff nods his head.  Bestler gets up from the desk and 
 walks around it.

      BESTLER
  That includes the staff.  I'm going 
  to turn this place into a model 
  prison, a credit to the Reich.   
  Understand?

 Scharff again nods his head.

      BESTLER
  Speak up.

      SCHARFF
  Yes, Colonel.

 Bestler returns to his desk, sits, and opens a folder.  He 
 glances up to study Scharff.

      BESTLER
  This isn't the first prison the SS 
  has had to take over from the 
  military. Military men are too soft 
  to deal with those...
   (he nods toward the 
   window)
  Scharff starts to speak but quickly 
  changes his mind.

      SCHARFF
  Yes, sir.

      BESTLER
  You were about to say something?

      SCHARFF
  Oh... I... was just going to say 
  that I didn't hold with the soft 
  treatment of the prisoners.

      BESTLER
  Good!
   (taking papers from 
   folder)
  Our first order of business is to 
  prepare...

 He is interrupted by the SOUND of laughter o.s.  He turns 
 slightly and looks curiously at the window, then turns back 
 to read from the papers in the folder.

      BESTLER
  Our first order of business is to 
  prepare all non-Aryan prisoners for 
  shipment in two weeks.

      SCHARFF
  Where are they being sent, Colonel?

      BESTLER
  Work camps.

 Again the SOUND of laughter from o.s. and Bestler looks 
 quickly at the window, irritated.  Scharff, uncertain of his 
 superior's reaction, tries to cover up.

      SCHARFF
   (speaking a little 
   louder)
  But we have about 40 children, some 
  only babies, with more scheduled to 
  arrive tomorrow or the next day. 
  They're not going to be much use in 
  a work camp.

      BESTLER
   (his attention diverted 
   back to Scharff)
  I'm aware of that.  This order covers 
  only the adult prisoners over fifteen.  
  We won't have to wet nurse the 
  children for long.  Other plans are 
  being made for...

 Again he is interrupted by the laughter o.s.

      BESTLER
  What is that?

 Before Scharff can answer, Bestler goes to the window and 
 opens it.

 PRISON YARD - LONG SHOT

 SHOOTING PAST Bestler through the window, we can see Helmut 
 performing for the children.  Bestler watches for a moment.

      BESTLER
  What is that supposed to be?

 BESTLER, SCHARFF - MED. SHOT

 Scharff goes to the window and looks over Bestler's shoulder.

      SCHARFF
  That!  Well, you see, sir, one of 
  the prisoners used to be a circus 
  clown.  Sometimes he gives a little... 
  well...  a sort of show -- for the 
  children.

      BESTLER
   (turning away from 
   window)
  A show!  Is this a prison camp or a 
  traveling circus!
   (he looks out window 
   again)
  Am I correct in assuming that those 
  children are on the non-Aryan side 
  of the camp?

      SCHARFF
   (almost in whisper)
  Yes, sir.

      BESTLER
   (leaving window)
  And the... buffoon?  A German?

      SCHARFF
  Yes, Colonel.

 Bestler sits on the side of the desk and looks at Scharff, 
 who tries very hard not to show how uncomfortable he is.

      BESTLER
  Am I to believe you aren't aware of 
  the general order absolutely 
  forbidding fraternization?

      SCHARFF
   (not worried)
  I know about it, sir.

      BESTLER
  Close the window.

 Scharff carefully closes the window.  Bestler walks around 
 desk to stand leaning against the wall.

      BESTLER
  Just what do you think fraternization 
  means, Lieutenant Scharff ?

      SCHARFF
  Communication.   Social contact.  
  Giving aid, talking...
   (shrugs helplessly)

      BESTLER
  How long has this been going on?

      SCHARFF
  Just the last two or three weeks.

      BESTLER
  And the Commandant approved?

      SCHARFF
  Well, sir, children are very hard to 
  handle.

      BESTLER
  This clown!  Who is he?

      SCHARFF
   (trying hard to 
   remember)
  It's... I know.  It's Doork, the 
  Great.

      BESTLER
  Not his clown name, you idiot.  His 
  number.  His identification.

      SCHARFF
  If I have the Colonel's permission 
  to leave, I will check it at once.

      BESTLER
  Later.  Right now I want these 
  performances halted.  Understand?

      SCHARFF
  Yes, sir.

 Bestler begins shuffling papers from the folder.  Scharff, 
 uncertain whether he has been dismissed or not, hesitates.  
 Bestler glances up.

      BESTLER
   (shouting)
  Immediately!

      SCHARFF
  Yes, sir !

 He salutes and bolts from the room, almost crashing into the 
 door in his flight.

           CUT TO:

 PRISON YARD - FULL SHOT - DAY

 Shooting past the children in f.g. to Helmut through the 
 fence, as he bows to the applauding youngsters.  Behind him 
 we can see a number of soldier-guards coming through the 
 cordon of watching prisoners, and waving them to disperse.  
 They do so reluctantly, as the guard from Helmut's barrack 
 moves forward to Helmut, who is just about to start another 
 routine.

      GUARD
   (shouting)
  That's all.  Show's over.  Everybody 
  clear out.

 Helmut stops, startled.

 MED. SHOT - HELMUT, GUARD

 ANGLED to include children across the fence.

      HELMUT
  What's wrong?

      GUARD
   (to Helmut)
  Get back to the barrack.
   (to children)
  You heard me.  Show's over.

 The children don't move, but stand staring at Helmut as if 
 waiting for him to tell them what to do.  This frustrates 
 the guard, who isn't accustomed to being questioned.

      GUARD
  Go on.  Get away.

 Still the children refuse to budge.  Angry, the guard goes 
 close to the fence, waving his arms at them.

      GUARD
  Move, damn it, before I come over 
  there and...

 The youngsters scuttle back a few feet fearfully, but there 
 they stop, their eyes still on Helmut.  The guard turns to 
 Helmut.

      GUARD
  Get them moving before somebody gets 
  hurt.

 Helmut goes up to the fence and speaks to the children softly.

      HELMUT
  That's all the show for today.  Go 
  back inside.

 The children back away with long faces.  Finally convinced 
 that Helmut is through, they turn and wander back toward 
 their barracks, but with many a backward look at him.  Helmut 
 continues to encourage them, as the guard looks on.

      HELMUT
  That's right now, go along.  I'll 
  see you tomorrow.  Goodbye.  Goodbye.  
  Until tomorrow.

 Many of the children wave to him.  The guard takes Helmut by 
 the arm, turns him toward the barrack and hustles him off.

 MED. TWO SHOT - HELMUT, GUARD

 The CAMERA MOVES BACK as they come toward it, the guard firmly 
 propelling Helmut along.

      GUARD
  Get inside and take that stuff off 
  your face.

      HELMUT
  I don't understand.  What's the 
  matter?

      GUARD
  Orders.  No more shows.

      HELMUT
  You mean... not ever?

      GUARD
  That's right.

      HELMUT
  But we weren't doing any harm.

      GUARD
  The Commandant thinks you are.

      HELMUT
  The Commandant?

      GUARD
  The new Commandant.  He minds.

      HELMUT
  Just because I make them laugh a 
  little...

      GUARD
  You know the rule... no mixing with 
  Jews.

      HELMUT
  I wasn't mixing!  I was only...

 The guard stops him and turns him so that they are face to 
 face.  The CAMERA MOVES UP TO --

 TIGHT TWO SHOT - HELMUT, GUARD

      GUARD
   (quietly, threatening)
  Look, it's not my order.  It's the 
  Commandant's.
   (more kindly)
  Now do what I tell you and save 
  yourself a lot of grief.

 He pushes Helmut toward his barrack and then turns and walks 
 off, the CAMERA PULLING BACK to --

 WIDER ANGLE

 Helmut watches the guard go, then, dejectedly, shuffles toward 
 his barrack.  As he nears it, Keltner, Franz, Adolf, Herman, 
 Ludwig, and the other regulars intercept him.

 MED. SHOT - GROUP

 They crowd around Helmut, anxious to know what's happened.

      FRANZ
  What happened?

      HELMUT
   (still bewildered)
  He says I've got to stop -- with the 
  children.

      KELTNER
   (nodding)
  I've been expecting it.

      LUDWIG
  Because they're Jews?

      KELTNER
  Because of the laughing.

      HELMUT
  Why should that bother them?

      KELTNER
  When you rule by fear, laughter is 
  the most frightening sound in the 
  world.

 Silently the men walk up the steps and into the barrack, the 
 CAMERA PANNING with them until we...

          DISSOLVE TO:

 EXT. PRISON YARD - FULL SHOT - DAY

 It is a warm, sunny afternoon and most of the prisoners on 
 both sides of the fence, are out warming their weary bones.  
 On the Aryan side, a number of prisoners, including Ludwig 
 and Herman, are having a makeshift soccer game using a bound 
 bundle of rags for a ball.  They play with fierce rigor for 
 such emaciated men, yelling at each other and kicking up 
 clouds of dust as they try to work off their frustrations.  
 On the non-Aryan side of the fence, the children, now about 
 50 in number, are grouped near the wire barricades staring 
 across it, their faces dour.  It appears they are watching 
 the game.

 MED. LONG SHOT - CHILDREN

 Shooting past the soccer players in f.g. toward the fence.  
 Through the men we can see the children, but the play moves 
 away from them.  They continue to stare straight ahead, 
 obviously watching something else.  Suddenly many of them 
 press close to the fence straining to see.

           CUT TO:

 EXT. BARRACK "H" - CHILDREN'S POV

 Helmut can be seen standing in the doorway.  After a beat, 
 he quickly retreats back into the barrack.

           CUT TO:

 INT. BARRACK "H" - DAY

 The CAMERA MOVES BACKWARD down the aisle between the bunks 
 as Helmut walks dejectedly down the aisle, nervously fingering 
 his white ascot.  The barrack is empty except for Keltner, 
 who is arranging the sprouts of his potato plant over a little 
 trellis of sticks.  Helmut turns and walks back up the aisle 
 to stand in front of Keltner.

      HELMUT
  I can't go out there.  I can't take 
  another day of them staring at me.

      KELTNER
  They'll get over it.  Disappointment 
  is no stranger to those children.

      HELMUT
  They look at me as though it was all 
  my fault.  Haven't they been told 
  why I can't...

      KELTNER
  I'm sure they have.

      HELMUT
  Then why do they stare?

      KELTNER
   (holding up the plant)
  It's amazing how a thing like this 
  can feed off itself.  Think how lucky 
  we would be if we could do that.

 Helmut glances disinterestedly at the plant as he reaches up 
 to his bunk and brings down the coat belonging to Franz.  He 
 holds coat up for Keltner to see.

      HELMUT
  I sewed a button on.  Look all right?

      KELTNER
   (inspecting coat)
  Fine.

 Helmut gently pats the coat, then folds it and puts it back 
 on his bunk.

      HELMUT
  I did make them laugh.  Didn't I?

 Keltner nods.

      HELMUT
   (angrily)
  I wish they'd get them out of here.  
  Prison is no place for little 
  children.

      KELTNER
  We've been all over that before.  
  You've got to stop thinking about 
  them.

      HELMUT
   (trying to convince 
   himself)
  You're right!  I've got to think of 
  myself.

 Keltner puts the plant under his bunk and gets up.

      KELTNER
  It's too hot in here.  I'm going to 
  get some air.

      HELMUT
  Johann... do you think there's any 
  possible way I could talk to the 
  Commandant.  Maybe I could make him 
  understand...

 The sentence trails off as Helmut realizes how useless his 
 suggestion is.

      KELTNER
  There's nothing you can do... but 
  forget.

      HELMUT
  How can I!  They were my own very 
  special audience.  And now they stare 
  at me as if I had betrayed them.

      KELTNER
  They're children, Helmut.  You can't 
  expect them to understand the madness 
  of adults.

      HELMUT
   (sudden thought)
  If I could talk to them.  To the 
  children themselves -- that would 
  help, wouldn't it?

 Keltner doesn't answer but he watches Helmut with new 
 interest.

      HELMUT
  If I explain it to them -- then 
  they'll know I am not mad at them.

      KELTNER
   (very deliberately)
  You go near that fence once again... 
  and you're taking your life in your 
  own hands.  You know that as well as 
  I do.

      HELMUT
   (pleading)
  I would just need a minute.  A minute 
  to talk to them.

 Helmut goes to the door and looks out.

           CUT TO:

 LONG SHOT - CHILDREN AT THE FENCE - HELMUT'S POV

 The children are still pressed against the fence, still trying 
 to get a glimpse of Helmut

           CUT TO:

 MED. SHOT - BARRACK "H"

 Helmut stands just inside the doorway... looking out.

      HELMUT
  I wish to God I didn't care.  I wish 
  to God I could forget them.

 Helmut walks back to Keltner.

      HELMUT
  But I can't.

 Helmut looks at Keltner, his eyes pleading for help.

      KELTNER
  I'm going to ask you a question, 
  Helmut, and I want you to think 
  carefully before you answer.

 Helmut nods.

      KELTNER
  The reason you can't get them out of 
  your mind -- is it because you need 
  them -- for you audience?

 Helmut drops his eyes as he attempts to find the right answer.

      KELTNER
  I want the truth.

      HELMUT
   (after a moment)
  I know I can't perform for them 
  anymore.  I know that.
   (a beat)
  I really don't know what the reason 
  is.  I think it's got something to 
  do with... well, I don't want those 
  little ones to think I've turned 
  against them, too.  That's why I've 
  got to do something.  Something.

 Keltner studies Helmut for a moment.

      KELTNER
  You'll be taking a chance.  A great 
  chance.

 Helmut nods that he know this.

      KELTNER
   (very definite)
  All right!  Come on then.

      HELMUT
  Where are you going?

      KELTNER
  You want to talk to the children?  
  Well, I think I can help you.

      HELMUT
  There's no reason for you to get 
  involved in this.

      KELTNER
  Reason?  When war is waged against 
  children!  That is reason enough for 
  the whole damn world to get involved.  
  And it will, believe me, it will.

 Keltner puts his arm around Helmut's shoulder.  Helmut grins, 
 a broad grin of thanks.

      KELTNER
  So, come on, Doork the Great, let's 
  start getting involved.

 They both walk quickly to the door.

           CUT TO:

 EXT. HELMUT'S BARRACK - DAY

 As Keltner and Helmut come out.  In the b.g. we can see the 
 soccer game still going on, the players shouting excitedly 
 at each other.  Keltner surveys the scene for a moment.

      KELTNER
  Wait here.

 He moves down the line of barracks toward the mess hall.

 EXT. PRISON YARD - FULL SHOT - DAY

 As Keltner moves among the men lounging around the barracks, 
 talking and watching the soccer game.  Trying to appear as 
 nonchalant as possible, we whispers something to a group of 
 prisoners.  They glance back at Helmut and then nod.  Keltner 
 moves on to another group, taking care to avoid the two yard 
 guards, one of which is the guard in charge of Barrack "H".  
 Again Keltner murmurs something to the other prisoners, and 
 again they look at Helmut and nod assent.  Keltner goes on 
 to another group.  As he does, the men in the first group 
 casually disperse and start across the yard toward the fence, 
 moving around the soccer players.  One of them goes up to 
 Ludwig, who is playing in the match, and whispers something 
 to him.  Ludwig nods, and the other prisoners move away.  
 Ludwig runs off chasing the "ball".

 MED. SHOT - LUDWIG

 as he storms into a clutch of players, including Galt, all 
 kicking at the "ball".

      LUDWIG
   (low to Galt)
  Kessler is going to talk to the 
  children. Cover him.

      GALT
   (mean)
  Who says so?

      LUDWIG
   (evenly)
  The Reverend says cover him... so we 
  cover him.

 The players around Galt give him a meaningful look and he 
 gets their message.

      GALT
  All right!  I was just asking.

 FULL SHOT

 As Keltner's plot takes shape, we see a dozen or so prisoners 
 wander, apparently aimlessly, across the yard and form a 
 spectator's section for the soccer game with their backs to 
 the fence, thus providing a shield between the children and 
 the guards.  The game picks up tempo, but the play somehow 
 stays in the center of the yard, strengthening the shield.

 MED. SHOT - HELMUT

 As he watches the plan in action.  Keltner rejoins him.

      KELTNER
  You know what to do?

 Helmut nods.

      KELTNER
  Stay behind the men and keep an eye 
  out for the guards on the other side.

      HELMUT
  Right.

      KELTNER
  Make it quick.  You won't have much 
  time.

 Helmut nods again and starts away, but Keltner stops him

      KELTNER
  And Helmut, keep the children quiet.  
  We don't want trouble.

 Helmut nods and moves off across the yard.  The CAMERA FOLLOWS 
 him as he circles around the soccer players, trying to look 
 as if he is just wandering over to join the other spectators.  
 As he nears the other side, the children spot him and react, 
 pressing closer to the fence and pointing to him.

 MED. LONG SHOT - HELMUT

 Shooting past the children in f.g. toward Helmut as he nears 
 the line of prisoners, who continue to ad lib shouts of 
 derision and encouragement to the soccer players.  The 
 children begin ad libbing cries of greeting to Helmut.  He 
 puts his fingers to his lips to silence them and takes his 
 place in the line with his back to them.

 MED. SHOT - HELMUT

 as he stands pretending to watch the soccer game with the 
 others.

      HELMUT
   (shouting)
  Kick it, Ludwig.  Kick it!

 The prisoner next to him gives him a sidelong glance and 
 nods almost imperceptibly.  Quickly, Helmut ducks behind the 
 line.

 MED. SHOT - HELMUT

 Behind the line as he scurries, bending over, to the fence.  
 The children flock to him.  The CAMERA FOLLOWS him to the 
 fence.

      CHILDREN
  Doork, Doork, Doork is back.  It's 
  Doork.  It's Doork.

 Helmut tries to silence their squeals of delight.  Holding a 
 finger to his lips:

      HELMUT
  Shhh.  Shhhh.  The guards...

 The children quiet down and press closer to the fence.  Helmut 
 drops to his knees, looking around.

      CHILDREN
  Do a trick, Doork.  Please, Doork, 
  please, please.

      HELMUT
  No, no.  I can't.  The guards won't 
  let me.  Not now.  Maybe some other 
  day.

 CLOSE SHOT - LITTLE GIRL

 This is the same flaxen-haired little five-year-old with a 
 doll we saw before.  She regards Helmut solemnly.

      LITTLE GIRL
  They're bad.

 MED. SHOT - HELMUT, CHILDREN

 Smiling wryly at the simplicity of this appraisal, Helmut 
 reaches through the fence and pats the head of the girl's 
 doll.

 Eager to touch Helmut, another child take his hand, others 
 grab at his arm.  Still other youngsters, following this 
 lead, try to reach through the fence to touch him.  Obviously 
 enjoying this adulation, Helmut takes as many of the little 
 hands as he can, squeezing them affectionately.  Only one 
 group of eight children hangs back.  They do not seem to 
 understand what this is all about.  Their little faces are 
 fearful, yet they are fascinated by Helmut.  Suddenly one 
 little boy gives a yelp of pain and backs away from the wire, 
 clutching his forearm.

      HELMUT
  What is it?  What happened?

      LITTLE GIRL
  He hurt himself.

 Wide-eyed with fright, the little boy takes his hand away 
 from his arm to reveal a nasty looking scratch from one of 
 the barbs on the fence.  Seeing his own injury, the youngster 
 bursts into tears.

      HELMUT
  Shhh.  Shhh.  Don't cry.  It's going 
  to be all right.
   (to the other children)
  Be careful when you're near this 
  fence.

 He consoles the little boy, who continues to cry and holds 
 up his wounded arm for Helmut to see.  Helmut looks around 
 frantically, as if hoping to find help somewhere.  Then he 
 quickly removes his ascot -- his precious trademark, the 
 symbol of his self-accorded status -- and hands it through 
 the fence.

      HELMUT
  Here, wrap this around it.  I'll 
  make it all better.

 The little boy goes on crying, but some of the other children 
 take the cravat and fashion it into a crude bandage around 
 the youngster's arm.  It fails to silence the boy's crying, 
 however.

      HELMUT
   (worried)
  Hush now.  Stop crying.  Please.  
  Look... Look at this.

 He begins shuffling around on his knees, imitating a duck in 
 an effort to appease the crying child.  As he goes, Helmut 
 quacks softly.  The boy stops crying, but his face remains 
 unhappy.  The other children laugh in spite of Helmut's 
 efforts to keep them quiet, all but the group of eight 
 youngsters who only stare at Helmut in awe.  Seeing that he 
 is making progress with the crying child, Helmut next pulls 
 his coat up over his head and, still on his knees, moves 
 around like a headless man, groping ahead with his hands.

 CLOSE SHOT - LITTLE BOY

 His frown gradually dissolves and, in spite of his sniffling, 
 he smiles, timorously at first, then broadly.  Finally, he 
 laughs.

 MED. SHOT - HELMUT, CHILDREN

 Helmut shrugs his jacket back into place and smiles at the 
 boy.

      HELMUT
  There, that's better.  No more crying 
  now.

 For the first time he notices the other group of frowning 
 children.  Among the other smiling and laughing youngsters, 
 they seem to stand out.  When Helmut fastens a quizzical 
 look on them, they back away a little, fearfully.

      HELMUT
  What's the matter with them?

      LITTLE GIRL
  They're new.  We can't understand 
  them.  All they do is cry.

      OLDER BOY
  They're all the way from 
  Czechoslovakia.

 The eight just start at him wordlessly, their fear naked in 
 their eyes.

      HELMUT
   (to the silent ones)
  There's nothing to be afraid of.  
  Everything is all right.

 When there is no reaction from the children, who obviously 
 don't understand him, Helmut looks over his shoulder, 
 wondering if he has time.

 MED. LONG SHOT - PRISONERS - HELMUT'S POV

 The prisoners are still rooting for the soccer players, but 
 as Helmut looks, Adolf, in the middle of the cheering section, 
 turns and sees him.

      ADOLF
   (a hushed call)
  Hurry up.

 MED. SHOT - HELMUT, CHILDREN

 Helmut nods to Adolf and then turns back to the youngsters, 
 afraid but still unable to tear himself away.

      HELMUT
  Here.  Look.  I'll show you... No 
  noise now.

 In pantomime, he pretends to pull a hair from his head and 
 threads it through an imaginary needle.  Finally accomplishing 
 this, he pretends to be sewing a button on his jacket, holding 
 the thumb of his left hand under the button while he sews 
 with his right.  When he has finished, he pantomimes that he 
 has sews his thumb to the jacket.  He pretends to be 
 embarrassed and tries to hide his hand in his trouser pocket, 
 but in order to put his hand in his pocket the jacket goes 
 too.  The children giggle, then roar with laughter at his 
 frantic efforts to detach his thumb from his jacket.

 The silent children press closer to watch Helmut's antics.  
 Some look at each other and smile, then grin.  Suddenly the 
 entire group is laughing.  Helmut holds up his hands for 
 silence, but the grin on his face says he loves it.

      HELMUT
  No, no, be quiet.  Be quiet.  Shhh.  
  Shhhh.

 The children go on laughing as if this is just part of the 
 game.

 MED. LONG SHOT - TOWER GUARDS

 The SOUND of the children's laughter floats up to two guards 
 in a tower on the non-Aryan side of camp.  One of them, who 
 has been watching the soccer game below, nudges his partner 
 and points down to Helmut.

 LONG SHOT - PRISON YARD - GUARDS' POV

 Between the children at the fence and the line of soccer 
 spectators we can see only the top of Helmut's head bobbing 
 up and down.  But that is enough.

 MED. LONG SHOT - TOWER GUARDS

 After a long look, one of the guards picks up a telephone 
 and starts to make a call.

 MED. SHOT - HELMUT, CHILDREN

 Helmut seems to have thrown caution away under the stimulus 
 of the children's laughter.  He is on his feet trying a hand 
 spring.  He lands flat on his back, but rolls over on his 
 side and grins broadly at his audience, which laughs 
 appreciatively.  This is the old Doork.  Their Doork.  Again 
 Helmut tries the hand spring and again he flops.

 FULL SHOT - PRISON YARD

 A HIGH ANGLE with Helmut and the children in f.g. and beyond 
 them the Aryan side of the yard.  The soccer game is still 
 in progress, with the spectators on both sides of the action 
 whooping it up.  Then in b.g. we see two soldiers, two SS 
 officers, and the guard in charge of barracks "H", come 
 bursting through the spectators near the huts and into the 
 game itself.  The players slowly subside as they realize 
 what is happening.  They watch the guard cross the yard.  
 The cheering trails off, and the yard becomes strangely quiet, 
 the prisoners' warning to Helmut.

 MED. SHOT - HELMUT, CHILDREN

 Oblivious to all this in his joy at performing for the 
 children again, Helmut is just pretending to slip on something 
 underfoot.  His arms flay the air as he tries to regain his 
 balance, but he falls.  Through this, however, the children 
 seem to be watching something behind Helmut, and when he 
 lands on the ground, they do not laugh.

 Again their faces are frightened as they look o.s.  Helmut 
 looks at them, puzzled.  Then, realizing that something is 
 wrong, he turns and looks up from the ground.

 ANOTHER ANGLE

 SHOOTING PAST Helmut in f.g. toward the guard, SS men, and 
 soldiers, who have come through the line of spectators and 
 stand glowering at him.  The prisoners have moved back, warily 
 watching for the next move.

      GUARD
  You wouldn't listen, would you?

 Almost wearily, he goes to the fence.  This isn't something 
 he likes, but his authority is at stake here, and he has no 
 choice.  As the CAMERA PANS him to the fence we see that 
 some non-Aryan adults have drifted over to see what the 
 disturbance is.

      GUARD
   (to the children)
  Go on.  Get back.

 The children don't move.  Their eyes are on Helmut.  The 
 guard shouts over to the adults standing behind the children.

      GUARD
  You back there, get them out of here.

 The adults begin to gather up the children.

      HELMUT
  They had nothing to do with it.  It 
  was all my doing.

 The guard turns and comes up to face Helmut.  He studies him 
 for a moment, then hits him a vicious backhand slap across 
 the face.  Taken by surprise, Helmut staggers backward and 
 falls.  A murmur runs through the prisoners.  The children 
 still near the fence, cry out with alarm.  Seeing their 
 terror, Helmut is determined to make it look like just another 
 act.  With a painful effort he gets to his feet, smiles at 
 the children, turns and salutes the guard, knocking himself 
 down again.  A couple of children giggle.  The FIRST SS 
 OFFICER quickly steps forward to stand behind the guard.

 He holds a swagger stick in his right hand, which he 
 repeatedly whacks into the palm of his left hand.  He looks 
 down at Helmut.

      FIRST SS OFFICER
  Get up.

 Helmut struggles to his feet.  He glances over at the 
 children.  They are all watching him.  He takes a deep breath, 
 winks at the little ones, then salaams before the SS Officer 
 and the guard.  Some of the children giggle.  This infuriates 
 the SS officer.  He raises the swagger stick and brings it 
 down hard on Helmut's head knocking him to his knees.  The 
 children scream with terror.  The SS Officer raises the stick 
 to hit Helmut again, but Keltner, in an almost instinctive 
 reaction, catches hold of his arm.

      KELTNER
  The children! Not in front of the 
  children!

 TWO SHOT - FIRST SS OFFICER - KELTNER

 The SS Officer turns and brings the stick down on Keltner.  
 He hits him over and over, each blow more vicious.

 MED. SHOT - HELMUT - FRIGHTENED CHILDREN IN B.G.

 Helmut turns away from the beating, pulls his jacket up over 
 his head and starts to walk around like a headless man 
 stumbling and falling over his own feet.  The children, many 
 still screaming, turn their eyes away from the SS Officer to 
 watch Helmut's antics.

 FULL SHOT - FRANZ, GALT, UHLMANN, LUDWIG, ADOLF, HERMAN AND 
 OTHER PRISONERS

 The horror-stricken men stand frozen as the SS Officer 
 continues to hit Keltner until he drops to the ground.  
 Suddenly Franz breaks away from the men and charges at the 
 First SS Officer.

 MED. SHOT - SS OFFICER - FRANZ

 Franz runs INTO CAMERA and attempts to stop the First SS 
 Officer.  The Second SS Officer whips his pistol out, aims 
 carefully and FIRES a shot into Franz's head.

 VARIOUS SHOTS OF THE PRISONERS

 Uhlmann stands speechless and dumbfounded.  Galt cowers.  
 Beads of perspiration pour from his brow.  Adolf weeps bitter 
 tears as Herman places his arm around his shoulder to comfort 
 him, and himself as well.  Ludwig, dead to any emotion, simply 
 turns and walks away into the crowd.

 MED. SHOT - HELMUT

 Helmut is now, more than ever, the clown, as he goes into a 
 frenzied version of the "Clap Dance".  The complete 
 incongruity of his behavior leaves the spectators stunned.

 WIDER ANGLE - SHOWING THE CHILDREN IN B.G.

 The children are no longer screaming, instead they are 
 watching Helmut as though they are hypnotized.

 FULL SHOT - HELMUT, GUARD, SS MEN, OTHER GUARDS

 The guard, fully aware that the sadist SS men may take action 
 against Helmut, quickly motions for two of the other guards 
 to take Helmut away.  The First SS Officer, still panting 
 with exhaustion, shows his approval of the action taken by 
 the guard.  The two guards seize Helmut by the arms and begin 
 dragging him off toward the administration building.  The 
 prisoners move away before the guards holding Helmut, forming 
 a sort of line of march for them.  As they drag Helmut along, 
 he waves back at the children, makes a funny face and moves 
 his feet in something approaching a dance step.

          DISSOLVE TO:

 INT. SOLITARY CONFINEMENT CELL - NO LIGHT

 SHOOTING FROM THE BACK of the cell toward the door.  The 
 cell is about eight feet long and four feet wide with a steel 
 door at the far end.  The cell is bare.  We HEAR men 
 approaching, and a guard opens the door letting in a shaft 
 of bright light.  Two guards hoist the unconcious Helmut 
 into the cell and drop him onto the floor.

 CLOSE SHOT - HELMUT

 He lies in a heap on the floor, his face swollen from a severe 
 beating.

 MED. SHOT - CELL

 The guards walk out, slamming the door shut leaving the cell 
 pitch dark.

          DISSOLVE TO:

 CLOSE SHOT - WINDOW WITH WINDOW SHADE

 Window shade quickly rolls up letting in a steam of blinding 
 sunlight.

 INT. COLONEL BESTLER'S OFFICE - DAY

 Lt. Scharff is by the window, having just rolled up the window 
 shade.  Colonel Bestler is on the phone and obviously 
 exasperated by what he is hearing.

 MED. SHOT - BESTLER, SCHARFF

      BESTLER
   (on phone)
  Yes.
   (pause)
  Yes.  Yes, I understand perfectly.  
  However, I don't see how we can be 
  held responsible.
   (pause)
  Our orders were very clear.  We were 
  to have the freight car ready to be 
  picked up at midnight.
   (pause)
  Of course, I'm aware the operation 
  must be kept secret.
   (pause)
  I just don't have the staff to send 
  down there now and... Yes, I'll wait.

 He puts hand over mouthpiece to talk to Scharff.

      BESTLER
  The freight car wasn't picked up.

      SCHARFF
  It's still down there on the siding!

      BESTLER
  Some stupid mix up.  If they think...

 The SOUND of the voice coming over the phone causes him to 
 literally snap to attention.

      BESTLER
  Yes, General.
   (pause)
  Yes, I'm as distressed about the 
  situation as you are.
   (long pause during 
   which he nods his 
   head)
  Yes.  Personally!  Immediately!  
  Yes, General.  You can leave it in 
  my hands.
   (pause)
  Heil Hitler!

 He puts down the instrument and turns at once to Scharff.

      BESTLER
  Who did you leave in charge down 
  there?

      SCHARFF
  Sergeant Hoffman.  Very reliable.

      BESTLER
  Apparently not reliable enough.  The 
  cargo seems to be raising quite a 
  fuss.

      SCHARFF
   (explanatory)
  Fifty children, sir!  In a boxcar!

      BESTLER
  I know.  I know.  But the siding 
  isn't far from town.  The General 
  doesn't want unauthorized persons 
  getting curious.  Understand?

      SCHARFF
  I'll get some men down there right 
  away.

      BESTLER
  Men!  You'll get yourself down there.
  And take at least a dozen guards 
  with you.  Don't let anyone get close 
  to that boxcar...  under any 
  circumstances.  No one !

      SCHARFF
  Yes, sir.

 Scharff turns to leave the office, but after a few steps he 
 stops and turns back toward Bestler, a look of concern on 
 his face.

      SCHARFF
  Sir?

 Bestler looks up.

      SCHARFF
  I wondered, sir, if you might have 
  any suggestions as... well...  how 
  do we quiet children?

      BESTLER
  Use any method you can, but shut 
  them up.  That's an order.

 Scharff is disappointed at not getting some help from Bestler.  
 Suddenly his face brightens.

      SCHARFF
  Sir, the clown!

 Bestler looks at him quizzically.

      SCHARFF
  The one who amused the children

      BESTLER
  Out of the question.  The man's being 
  disciplined for that very thing.  We 
  can't change our position now.

      SCHARFF
  No one need know.

      BESTLER
  He'd know.

 Scharff thinks this over.  Suddenly his face brightens.

      SCHARFF
  Sir, if I could guarantee he'd never 
  say anything.

 Bestler looks interested.

      SCHARFF
  You see, sir, he's been trying to 
  get a review of his case.  Claims 
  he's here by mistake.  I could tell 
  him you would recommend the review.

      BESTLER
  A man who wants something.  Good.  
  Very good strategy, Lieutenant.
   (he turns to face 
   Scharff)
  However, when you bring him back 
  here, return him to solitary and 
  keep him there.
   (a beat)
  I've seen the best of men, after 
  several years in solitary, unable to 
  remember even their own names.

      SCHARFF
  Then I have your permission to take 
  the clown.

      BESTLER
  Permission granted.

          DISSOLVE TO:

 LONG SHOT - OPEN ROAD - DAY

 A small open truck with 12 soldiers in the back, followed by 
 a staff car, move along the road.

 INT. STAFF CAR - MOVING - DAY

 DRIVER is in the front seat, Helmut and Scharff in the back.

 MED. SHOT - HELMUT - SCHARFF

 Helmut has been cleaned up, but still shows the effects of 
 the beating and his stay in solitary.  Holding a small mirror, 
 he is applying his makeup.  He occasionally closes or tries 
 to shade his eyes from the light.  They ride on in silence.  
 Scharff stares straight ahead.

      HELMUT
  Wish you could've gotten the big 
  shoes.  The children laugh so when 
  they see them flopping up and down.

 Scharff makes no reply.  Helmut starts to put on his big 
 black mouth.

      HELMUT
   (a touch of the old 
   arrogance)
  The Commandant, himself, asked for 
  me!
   (a beat)
  You say he's personally requesting a 
  review of my case!  Why, that means 
  I'm practically on my way back to 
  Berlin.
   (studies mouth in 
   mirror)
  Should be red.  Mouth looks better 
  in red.
   (a beat)
  Know the first thing I'm going to do 
  when I get to Berlin?  Buy an overcoat 
  with a fur collar.  Had such a coat.  
  Very elegant. Very elegant.
   (finishing the up-
   turned corners of 
   mouth)
  It's a good idea... moving the 
  children.

 Scharff reacts to this.  He looks sharply at Helmut.

      HELMUT
  Prison's no place for children. I 
  said all along that it was some kind 
  of mistake.

      SCHARFF
   (uncomfortable)
  Finish your makeup.  We're almost 
  there.

      HELMUT
  Know what Johann Keltner said?

      SCHARFF
  Who?

      HELMUT
  Keltner.  From my barracks.  The 
  minister. He said... Let me think.
  He said... men who wage war on 
  children. That's it. Men who wage 
  war on children... commit such a 
  crime...
   (a beat as he thinks)
  ... such a heinous crime.  That's 
  it.  Men who wage war on children 
  commit such a heinous crime that 
  even the devil damns their souls.

 Scharff looks as though he'd just been slapped across the 
 face.  He quickly turns toward the window.  Helmut inspects 
 his reflection in the mirror as he draws black vertical lines 
 down over each eye -- giving him a very lost, sad, dejected 
 look.

 EXT, RAILROAD SIDING - LONG SHOT - DAY

 as the truck and staff car leave the highway and jolt down a 
 short roadway to a railroad siding where a boxcar sits on 
 the tracks.  Uniformed GUARDS stand watch on both sides of 
 the car, which has the door nearest the CAMERA, partially 
 open.  The truck and staff car pull up to the nearest boxcar.  
 The soldiers jump from the rear of the truck, one of them 
 carrying a large burlap sack.

 MED. SHOT

 as Scharff gets out of the car, from the boxcar comes the 
 SOUND of children crying.

      SCHARFF
   (to Helmut in car)
  Wait here.

 Scharff strides purposefully over to Sergeant Hoffman, the 
 guard beside the open door.  Hoffman salutes Scharff.

      SCHARFF
  Any word about the train yet?

      HOFFMAN
  No, sir.  The last we heard -- it 
  won't get here until evening.

      SCHARFF
  Anyone been around?

      HOFFMAN
  No, sir.

      SCHARFF
  With all that wailing, it's a wonder.  
  Couldn't you keep them quiet?

      HOFFMAN
  I didn't know what to do, Lieutenant.  
  I was afraid to close both doors.

      SCHARFF
   (to other soldiers)
  Keep a tight guard on the whole area.  
  No one gets near here.  Understand?
   (to Hoffman)
  You post them.

      HOFFMAN
   (saluting)
  Yes, sir.

 Hoffman moves over to soldiers and begins giving them their 
 orders.

      SCHARFF
   (to soldier holding 
   the sack)
  Leave that here.

 The soldier puts down the sack, and hurries off after the 
 others with Hoffman leading the way.  Scharff turns toward 
 the staff car.

      SCHARFF
   (calling to Helmut)
  Over here, Clown.

 Helmut quickly gets out of the car and moves over to Scharff.  
 He looks toward the partially open door.

      HELMUT
  They're crying.

      SCHARFF
   (indicating the sack)
  Take that in to them.

 Helmut picks up the sack and peers into it.

      HELMUT
  What is it?

      SCHARFF
  Bread.  They won't wait so loud with 
  their mouths full.

      HELMUT
   (shocked)
  How... how long have they been here?

      SCHARFF
  You just get in there and keep them 
  quiet.  You can do that, can't you?

 Helmut nods.  Scharff puts his hand on Helmut's shoulder.  
 Helmut stiffens under his touch.

      SCHARFF
  Do a good job and I'll personally 
  ask that you get a favorable decision 
  on your case.  Understand?

      HELMUT
  Yes, sir.

 Helmut moves over to the half open door of the boxcar, the 
 CAMERA MOVING with him.  Just before he looks inside, he 
 puts a wide grin on his face.  But when he does peer into 
 the car, his eyes cease to smile.

 INT. BOXCAR - HELMUT'S POV - DAY

 In one end of the car the children are huddled together in 
 one frightened, wailing mass.  They do not even notice Helmut 
 at first, so great is their sorrow.  The little ones cling 
 to the larger youngsters, who, in turn, cling together.  The 
 small ones weep hysterically , as children do when they have 
 been crying for a very long time.  The CAMERA PULLS BACK so 
 that Helmut is in f.g.   He slides the boxcar door open fully, 
 throwing more light on the children.  This brings renewed 
 walls of anguish from the youngsters, who cluster together 
 more fiercely.  But one little boy sneaks a look at the door, 
 expecting to see more guards.  When he sees Helmut, his tear-
 filled eyes widen.  He can scarcely believe what he sees, 
 much less verbalize it.  He tugs frantically at an OLDER 
 GIRL he has been clutching.  She looks first at him, then at 
 Helmut.  She, too, can hardly believe it.

      OLDER GIRL
   (tentatively)
  Doork?
   (shrill with 
   recognition)
  It's Doork.  It is!  It is!

 The children begin untangling quickly.  Faces appear between 
 legs, around skirts and over shoulders.  For a moment they 
 can only stare at Helmut, speechless with wonder.

      HELMUT
   (gently)
  So this is where you've been hiding?

 That breaks the silence, and the children begin squealing ad-
 libbed expressions of greeting and relief.  They repeat his 
 name time and again:  "Doork, Doork, Doork."  As one... the 
 youngsters surge toward him.  The little boy who first saw 
 him reaches him first.  He drops to his knees and puts his 
 arms around Helmut's neck, hugging him furiously.  Helmut 
 returns the embrace.

      BOY
  I want to go home.  Take me home.

      HELMUT
  Now, now, there's nothing to cry 
  about.  We're going to have fun.
   (disengaging himself 
   and picking up the 
   sack)
  Here.  I brought you something.
   (he tosses it into 
   the car)
  The children pounce on the sack and 
  tug at it, unsure what it is except 
  that it's a gift from Helmut.

      HELMUT
  Wait now.  Don't open it yet.  Wait'll 
  I get in.  You help me.

 He backs up a few steps, the CAMERA PULLING BACK with him.  
 Then he runs toward the car and, with strength he really 
 doesn't have, jumps up so that he gets his arms on the floor 
 of the boxcar.  He heaves himself forward partially into it, 
 and the children grab his clothes to help him inside.  A 
 couple of the older boys seize the seat of his pants and 
 finally pull him in.

 INT. RAILROAD CAR - DAY

 FAVORING Helmut as he rolls over and jumps up, waggling his 
 head from side to side in the manner of a Jack-in-the-box.  
 The children watch him big-eyed.  A few giggle.

      HELMUT
  Look, I'm a Jack-in-the-box.

 He gestures around to indicate that he is, indeed, in a box.

      HELMUT
  We're all Jacks-in-the-box -- the 
  same box.

 The children laugh, and some begin imitating Helmut's head 
 movements.  Others do the same, and still others, including 
 the Czech youngsters, until all are waggling their heads at 
 each other and loving it.  Then, out of sheer adoration, the 
 youngest of the children close in on Helmut and hug him around 
 his legs.  Slowly he stops waggling his head and stretches 
 out his arms to embrace as many of them as he can -- almost 
 as if trying to protect them.  Suddenly the gaiety dissolves, 
 and the children go solemnly silent.  Helmut reacts.

      HELMUT
  Well... who's hungry.

 Almost in unison, the children shout "I am", again forgetting 
 their unhappiness.

      HELMUT
  All right, I want everybody to sit 
  down.  When I count three, everybody 
  sit.  Ready?   One, two...

 On the count of two, many of the youngsters sit down.  Helmut 
 feigns surprise.

      HELMUT
  Oh, you're too fast.  Three!

 This brings a burst of giggles, and the remaining children, 
 sit down... the Czechs following the example of the others.  
 Helmut opens the burlap sack and begins handing out pieces 
 of black bread.  The children grab at the chunks and gnaw it 
 voraciously.  When all of the youngsters have been given the 
 bread, Helmut takes a piece and bites into it with great 
 relish.  After a few chews on the bread:

      HELMUT
  Now... what'll we do?

 There is a long moment of silence, then the little blonde 
 girl with the rag doll speaks up timidly.

      LITTLE GIRL
  I want to see my Mommy.

 Helmut is brought up short.  For a beat he searches his brain 
 frantically for an answer.  Then he goes to the child and 
 kneels beside her.

      HELMUT
  You would?  All right.

      LITTLE GIRL
  You know where she is?

      HELMUT
  She's right here with you.

      LITTLE GIRL
  I don't see her.

      HELMUT
  That's because you don't know how to 
  look.  I'll show you.  Close your 
  eyes.
   (to the other children)
  All of you... close your eyes.

 The little girl closes her eyes and one by one the other 
 youngsters do also.  The Czech children look at each other, 
 then at the other children, then they too close their eyes.

      HELMUT
  Everybody's eyes shut?  Now, think 
  about your mommys and Daddys... There, 
  don't you see them?  Can't you see 
  their faces?

 The children, marvelling at this feat, ad lib expressions of 
 assent.

      HELMUT
  So you see!  They're right here with 
  you.  All you have to do is look in 
  your hearts.

      LITTLE GIRL
   (putting her hand 
   over her heart)
  Does Mommy see me, Doork?

      HELMUT
   (deeply touched)
  Yes, she does.  She has you safe in 
  her heart, too.

 The silence in the car tells Helmut that sadness has returned 
 to the children.  He brightens quickly and rises.

      HELMUT
  I've got an idea.  You all know my 
  name, but I don't know yours.  So 
  let's find out everybody's name, 
  shall we?

 He points to a boy of about ten in the group.

      HELMUT
  You... come here and I'll show you 
  what we'll do.

 The boy, honored at being singled out, rises and comes to 
 Helmut, who takes a stubby pencil from his pocket.

      HELMUT
  What's your name?

      BOY
   (timidly)
  Willie.

      HELMUT
  Willie.  That's a good name.  How do 
  you spell it?

      BOY
  W-I-L-L-I-E.

      HELMUT
  Fine.  I'll just write that on top 
  of your head.

 Using the eraser end of the pencil, Helmut carefully traces 
 the letters on top of the boy's head.  The youngster peers 
 upward, wondering.

      HELMUT
  There.  See, this way we'll all be 
  able to tell everybody else's name 
  just by looking at his head.

 CLOSE SHOT - BOY

 still looking up, but now doubtful.

      BOY
  Did you really?

 MED. SHOT - THE GROUP

      HELMUT
  Of course I did.  Here...

 He pulls an older boy to his feet, winks at him and points 
 to the first boy's head.

      HELMUT
   (to the older boy)
  Tell him what it says.

      OLDER BOY
   (giggling)
  It says Willie.

      BOY
   (impressed)
  Really?  Truly?

 He puts his hand to his head.

      HELMUT
  Be careful.  Don't smear it.
   (he glances around)
  Let's see now... Yes.  You shall be 
  next.

 He points to a Czech girl of about six.  He motions for her 
 to come over to him.  She shyly bows her head.  Her friends 
 push her forward. Helmut holds out his hand to her, she grabs 
 it.

      HELMUT
  What is your name?

 She looks at him, then at the other Czech children.  They 
 all giggle.

      HELMUT
   (squatting down beside 
   her)
  Forgive me.  I don't speak your 
  language.

 He gently plants a kiss on her cheek and she puts an arm 
 around his neck.

      HELMUT
   (to others)
  See!  We understand each other.  
  Now...
   (he points to Willie)
  Willie.
   (he points to himself)
  Doork.
   (points again to Willie)
  Willie.
   (pointing to himself)
  Doork.

 The child's eyes light up and she whispers into Helmut's 
 ear.

      HELMUT
  A beautiful name!  Now you tell all 
  the children.

      CZECH GIRL
   (almost a whisper)
  Inga.

      HELMUT
  It's such a pretty name... say it 
  again.

      CZECH GIRL
   (more sure of herself)
  Inga!

 She quickly bows her head for Helmut to outline her name on 
 the top of it.

      HELMUT
   (with a flourish of 
   his pencil)
  I-N-G-A.  There it is.

 The little girl gives a quick curtsy and hurries back to her 
 group.  Helmut glances around at the children.

      HELMUT
  Let's see now.  Who wants to be next.

 The little girl with the doll presses forward.

      HELMUT
  You?

 Shaking her head she holds up the doll.

      HELMUT
  Her?

      LITTLE GIRL
  So the little children will know her 
  name.

      HELMUT
  Of course.  That way she can't get 
  lost, can she?  What's her name?

      LITTLE GIRL
  Frederika.

      HELMUT
   (mock dismay)
  Frederika?

 He studies the top of doll's tiny head.  Then he holds up 
 his hand and measures off a distance of about three inches 
 in the air with thumb and forefinger.

      HELMUT
  Frederika!

 Next he puts the doll's head between his thumb and forefinger, 
 illustrating that the head is too small for the name.

      HELMUT
  Couldn't we just make it Freda?

      LITTLE GIRL
   (solemnly)
  Oh, no!  Frederika.

 Helmut shrugs, closes one eye and begins writing in tiny 
 letters on the doll's head.  The children laugh delightedly.

 EXT. RAILROAD SIDING - FULL SHOT - DAY

 Sergeant Hoffmann is walking his post beside the open door 
 of the boxcar.  Inside we can see Helmut and the children 
 and HEAR their laughter.

 The CAMERA PANS over to the staff car, where Scharff sits in 
 the front seat smoking a cigarette and waiting.

          DISSOLVE TO:

 EXT. RAILROAD SIDING - FULL SHOT - AFTERNOON

 It is perhaps two hours later.   Sergeant Hoffman is now 
 leaning wearily against the boxcar near the door.  The CAMERA 
 PANS over to the staff car, where Scharff is dozing in the 
 back seat.

 MED. SHOT - SERGEANT HOFFMAN

 From within the boxcar we can HEAR Helmut SINGING softly to 
 the children.  Sergeant Hoffman is listening.  Finally he 
 takes something from his pocket, goes to the door of the 
 boxcar and sticks his head inside.

 INT BOXCAR

 The children are scattered about, either sleeping or near 
 sleep, many of them cuddled close to Helmut, who sits near 
 the door with his back against the side of the car, crooning.

      SERGEANT HOFFMAN
   (whispering)
  Clown.  Clown, can you play one of 
  these?

 He holds out a harmonica.  Helmut leans over to get it, being 
 careful not to disturb the children.

      SERGEANT HOFFMAN
  I got it to send home to my boy...  
  but if it'll help...

 TWO SHOT - HELMUT, HOFFMAN

      HELMUT
  It will.  It will.
   (he takes it)

      SERGEANT HOFFMAN
  You won't say anything to the 
  Lieutenant.

      HELMUT
  I promise.

 He leans back and looks at the harmonica, then he has a sudden 
 thought as Hoffman's head disappears.  He leans back toward 
 the door.

      HELMUT
  Guard... guard.

 Hoffman reappears at door.

      HELMUT
  It's going to be dark soon.  The 
  little ones may be afraid.  Do you 
  think... well... could you get some 
  kind of a light for in here?

      SERGEANT HOFFMAN
   (angry)
  Want to get me in trouble?

 Helmut nods that he understands Hoffman's situation.

      SERGEANT HOFFMAN
   (trying to justify 
   himself)
  I would if I could.

      HELMUT
  I know.  I know you would.

 Again Hoffman's face disappears.  Helmut leans back and begins 
 experimenting with the harmonica.  Actually he can play it 
 only slightly, but he manages to get some sort of soft tune 
 out of it.  The CAMERA PULLS BACK SLOWLY to include the 
 children, most of who are resting peacefully, secure in 
 Helmut's presence.  But suddenly a little dark haired, dark-
 eyed girl of about six, sits upright and cries out, frightened 
 by a bad dream.  Helmut reacts.  The child looks around the 
 boxcar as if she can't remember how she got there and begins 
 crying inconsolably.  Some of the other children stir.  Helmut 
 quickly but carefully disengages himself from the tots around 
 him and picks his way over to the girl.  He kneels beside 
 her, and the CAMERA MOVES UP to --

 TIGHT TWO SHOT - HELMUT, DARK-EYED GIRL

 The child continues crying, but more softly, he wide wet 
 eyes on Helmut.

      HELMUT
   (gently)
  What's the matter?
   (she only stares at 
   him)
  It's all right -- just a bad dream.

 He tries to put a comforting arm around her, but she shrinks 
 away continuing to sob softly.  Realizing that words won't 
 help, he turns to the harmonica for communication, serenading 
 her with a soft but sprightly tune of his own improvisation.  
 It is hardly a masterpiece, but it has the desired effect.  
 The girl stops sobbing, and when Helmut finishes the tune he 
 makes a real funny face and she timorously puts a hand up to 
 touch his make-up, but pulls it back quickly.  With an 
 affectionate smile, Helmut takes her hand and runs it over 
 his face, pretending that her touch tickles him.  As he 
 laughs, the child begins to smile faintly.  He shows her the 
 traces of chalk make-up on her fingers, and she giggles.  
 His conquest is all but complete.  He picks the youngster 
 up, and holding her like a dancing partner, pretends to dance 
 with her to a little tune he hums.  She loves this and laughs 
 outright.  When Helmut finally puts her down, he kisses her 
 on the cheek and turns his cheek in an unspoken request for 
 a return kiss.  The girl shyly and quickly gives Helmut's 
 cheek a peck.  Grinning, Helmut pats the spot where she kissed 
 him to show his appreciation for her wonderful gift.

 WIDER ANGLE

 The older girl we saw earlier calls to him in a hushed voice.

      OLDER GIRL
  Doork.

 Helmut moves over and squats down beside her and the CAMERA 
 MOVES IN to --

 CLOSE TWO SHOT - HELMUT, OLDER GIRL

      OLDER GIRL
  Where are they sending us?

      HELMUT
   (shaking his head)
  Don't know.

      OLDER GIRL
  Do you have children?

 Helmut looks around at the children.  He smiles sadly.

      HELMUT
  I do now.

          DISSOLVE TO:

 INT. STAFF CAR - NEAR DUSK

 Scharff, dozing in the back seat, is awakened by the SOUND 
 of an approaching train o.s.  He listens, glances at his 
 watch, shakes his head and gets out of the car.

 EXT. RAILROAD SIDING - NEAR DUSK

 As Scharff strides to the boxcar, where Sergeant Hoffman has 
 also hear the locomotive.  He salutes as Scharff comes up, 
 the CAMERA FOLLOWING him.

      SCHARFF
  It finally got here.

      SERGEANT HOFFMAN
  Yes, sir.

      SCHARFF
  Help them get the car coupled on.

 We want to move it out of here as fast as possible.  Be sure 
 the doors are locked.  And, get the clown off.

 Hoffman salutes, and Scharff moves off toward the approaching 
 locomotive and freight cars being backed up to the boxcar.

 FULL SHOT - FREIGHT TRAIN - (STOCK)

 It is backing down the siding toward the boxcar.

 MED. SHOT - SERGEANT HOFFMAN

 With a cautious look around, he reaches under the waiting 
 boxcar and brings out a box-type, battery operated lantern.  
 He goes to the boxcar door and peers inside.

      SERGEANT HOFFMAN
   (calling)
  All right, clown, time to get off.

 Helmut appears at the door and looks down.

      HELMUT
  What is it?

      SERGEANT HOFFMAN
  Train is here.  They are hooking it 
  up now.
   (he hoists the lantern 
   inside)
  Here.  Tell them not to light it up 
  until the doors are closed.

 Helmut gives him a look of deep gratitude.

      SERGEANT HOFFMAN
   (curtly)
  And get off right now.

 Just then the boxcar is jolted as the locomotive makes contact 
 and Hoffman runs off toward the front of the car.

 INT. BOXCAR - EVENING

 The jolt has awakened several of the children, who gather 
 around Helmut in the dimness of the car, frightened and 
 bewildered.

      CHILDREN
  We're moving.  What's happening?  
  What was the noise?  Doork, where 
  are we going?

      HELMUT
   (forced gaiety)
  It's nothing.  You're going for a 
  train ride.  What do you think of 
  that?  A real train ride.

      CHILDREN
   (pressing close -- 
   sensing his anxiety)
  Is it far?  Are you coming, too?  I 
  don't want a train ride.

      HELMUT
  Oh, it'll be fun.  I would like to 
  come, but I don't think I can.

      CHILDREN
   (pleading)
  Please come, Doork.  Please.  Please.  
  Please.

      HELMUT
  I can't.  They want me to stay here.

 There are cries from the children, whose pleading eyes make 
 Helmut terribly uncomfortable.  He backs toward the door.

      HELMUT
  But... I'll come to see you.  Soon 
  as I can. And, I want you all to 
  promise me to be very good.  No 
  crying.

 The children stare at him silently, their eyes unconsciously 
 accusing.  With him goes all their security.  Helmut knows 
 it, but he has no choice.  When he reaches the door...

      HELMUT
  If you want me...  remember, just 
  close your eyes.

 CLOSE SHOT - LITTLE GIRL WITH THE DARK EYES

 Wordlessly, she shuts her eyes -- tight.

 PAN SHOT - CHILDREN

 Following the dark-eyed girl's example, the smaller children 
 one by one, close their eyes.

 CLOSE SHOT - HELMUT

 Near tears with emotion, he wavers.  Then with great control..

      HELMUT
   (huskily)
  Goodbye.

 MED. SHOT - HELMUT

 He turns and sits down on the floor of the car with his feet 
 hanging outside.  He is just about to jump down when he is 
 stopped by a LOUD WAIL of anguish from one of the children 
 behind him.  He turns and looks back at them.

 MED. SHOT - CHILDREN - HELMUT'S POV

 A BOY of about six, one of the Czech youngsters, is crying 
 with the dejection of a lad who has just lost everything.  
 The other little Czechs and the older girl who first 
 recognized Helmut at the boxcar door are trying unsuccessfully 
 to console him.  Between cooing and patting the boy's 
 shoulder, the girl throws accusing looks at Helmut.

 WIDER ANGLE - TO INCLUDE HELMUT

 Uncertain what to do, Helmut glances around outside.  
 Satisfied that the train isn't going to move at once, he 
 gets up and goes to the children.

      HELMUT
  What's this now?  Crying?  After all 
  the fun we've had?

 The boy only looks at Helmut and goes right on crying.  Helmut 
 looks helplessly at the older girl.

      GIRL
  It's his birthday.  He thought there 
  would be presents.

      HELMUT
   (to girl)
  He's a Czech.   Do you speak...

      GIRL
   (annoyed)
  Of course not!

 Helmut is angry with the girl because he really wants to get 
 off the train and yet can't because of the accusing look in 
 her eyes.

      HELMUT
   (pointedly)
  Then how do you know it's his... 
  birthday?

      GIRL
   (with typical child 
   logic)
  He told me.

      HELMUT
  He speaks German?

      GIRL
  No.

      HELMUT
  But he told you it's his birthday?

 The girl nods firmly as do the other children.  The boy 
 watches it all, wide-eyed.  Helmut figures to put an end to 
 this.

      HELMUT
  What date is this?

      GIRL
   (after thinking it 
   over)
  Why, it's his birthday!

 This is too much for Helmut to fathom.  He turns his head 
 away, trying to think.

      GIRL
  Don't you believe him?

 Helmut turns back to them, looking first at the girl, then 
 at the boy, his little upturned tear-stained face full of 
 wonder.  Helmut softens, recalling perhaps his own birthday 
 disappointment.

      HELMUT
  Of course, I do.
   (pats boy's head)
  Tell him I wish him a happy birthday.

      GIRL
  He knows that.  But... but what're 
  you going to do about a present?

 Helmut fans his clothes, finds the harmonica and produces it 
 with a flourish.

      HELMUT
  Aha, the very thing.  He can be the 
  clown while I'm gone.

 ANOTHER ANGLE - FAVORING THE CZECH BOY

 As Helmut bows and holds out the harmonica to him.

      HELMUT
  Happy birthday.

 The boy looks solemnly at Helmut and the harmonica.  He 
 doesn't quite seem to understand what this is all about, but 
 the harmonica is enticing.  He looks up at his countrymen 
 for encouragement.  They smile at him, and he takes the 
 harmonica, examines it, then blows into it experimentally.  
 When he hears the SOUND that comes out, he brightens.  Then 
 the little girl with the rag doll comes forward and offers 
 it to the boy.  He looks at her strangely, one of the older 
 German boys scoffs.

      GERMAN BOY
  He's a boy!  Dolls are for girls.

 The little girl is hurt, and looks to Helmut for support.

      HELMUT
  When you give something you love...  
  it doesn't matter if it's the right 
  thing.

 He takes the doll and puts one of it's hands in the boy's 
 hand, the other in the little girl's.  They stand looking at 
 each other and sharing the doll.  Helmut looks towards the 
 door apprehensively, but there seems to be no action outside -- 
 and there are the eyes of the children on him.

      HELMUT
  Maybe we have time for a birthday 
  game.  A quick one.  Let me take a 
  look.

 INT. BOXCAR - FULL SHOT

 Helmut goes back to the door.  He glances around outside.  
 There still seems to be time.  He returns to the children.

      HELMUT
  Everybody line up behind me now, and 
  I'll show you how a train goes.  
  Wait -- the harmonica.

 Helmut looks around for the new owner of the harmonica.  He 
 goes over to him.

      HELMUT
  May I borrow it back... for just a 
  minute or two?

 The boy studies him dubiously with that "Indian-giver" look 
 in his eyes.

      HELMUT
  For just a minute -- then I'll give 
  it right back to you.
   (trying a sort of 
   sign language)
  Just for the game.

 Finally the boy hands over the harmonica and manages a smile 
 because he sees all the other children smiling at him.

      HELMUT
  Good.  Now everybody...  line up 
  behind me.

 The children scramble into line behind him.  Helmut looks 
 back at them.

      HELMUT
  Grab hold of the one in front of 
  you...  'cause we're going to be a 
  fast express train.

 The children, laughing and giggling, grab hold of one another.

      HELMUT
   (calling out)
  All aboard.  All aboard.

 He puts the harmonica to his lips and begins huffing and 
 puffing on it, imitating a train.  He begins to shuffle his 
 feet and move slowly down the side of the car... the children 
 holding on for dear life and following him... their eyes 
 shining with expectation as Helmut begins to quicken his 
 pace.

           CUT TO:

 INT. BOXCAR - NEARLY DARK

 Dim shafts of light from the two small square vent openings 
 near the top on each side, gives the boxcar an eerie look.  
 Helmut stops abruptly as he hears the slamming of the door.  
 The children pile up behind him.

      HELMUT
  WAIT!

 He moves quickly to the door and tugs at it.  Finding it 
 locked, he pounds on it.

      HELMUT
  Open the door!  Let me out...  LET 
  ME OUT!

 But the train NOISES drown his voice.  Then the boxcar 
 suddenly lurches and starts to move forward.  Helmut's 
 pounding weakens and stops.  He turns from the door, his 
 face reflecting his fright.  The children, not quite 
 understanding what has happened, gather around him, and pull 
 on him.  He manages to control his fear, and looking at the 
 children, he manages a big smile.

      HELMUT
  Guess I'm going with you after all.

 He switches on the lantern and holds it high so its rays 
 cover all the children.

      CHILD
  Let's play some more, Doork?

 Helmut glances down at the tot, started by the suggestion.  
 Then he nods in a stunned sort of way.  He puts the harmonica 
 to his mouth and begins puffing on it.

           CUT TO:

 EXT. RAILROAD SIDING - EVENING

 Scharff and Sergeant Hoffman stand watching the boxcar move 
 away.

 MED. TWO SHOT - SCHARFF, HOFFMAN

      SCHARFF
  I'm glad that's over.  Call in the 
  sentries.

      SERGEANT HOFFMAN
  Yes, sir.

 He starts to move away.

      SCHARFF
  Kessler in the car?

      SERGEANT HOFFMAN
  Kessler?

      SCHARFF
  The clown?

      SERGEANT HOFFMAN
   (looking around)
  I... I guess he is, sir.

      SCHARFF
  You GUESS!

 Scharff races to the car with Sergeant Hoffman right behind 
 him. The CAMERA FOLLOWS them.

 Scharff peers inside and finds the car empty.  With an angry 
 glance at Hoffman, he hurries to the truck and looks in the 
 cab.  It too is empty.

      SCHARFF
   (moving back toward 
   Hoffman)
  I told you to get him off the train.

      SERGEANT HOFFMAN
  I told him, sir.  HE was standing 
  right by the door.  I'm sure he got 
  off.

      SCHARFF
  Did you see him?

      SERGEANT HOFFMAN
  Why, I...

      SCHARFF
  DID you?

      SERGEANT HOFFMAN
  You told me to see that the car was 
  coupled on.  When I came back...  
  Why wouldn't he get off?

      SCHARFF
  Idiot!
   (shouting)
  Guards.  GUARDS!

 The other soldiers come running from o.s.

      SCHARFF
  The clown prisoner is missing.  He 
  may have escaped.  Search the area.  
  If he got off the train he must be 
  around here someplace.

 The soldiers rush o.s. into the deepening darkness.

 CLOSE TWO SHOT - SCHARFF, HOFFMAN

      SCHARFF
  You know what happens if he gets 
  away.

      SERGEANT HOFFMAN
   (hopefully)
  He can't get very far.

 Scharff looks o.s. after the disappearing train.

      SCHARFF
  If he's on that train -- he's going 
  farther than you know ---

           CUT TO:

 LONG SHOT - TRAIN - EVENING (STOCK)

 The rear of the boxcar is just disappearing from sight in 
 the darkness.

 CLOSEUP - SCHARFF

      SCHARFF
  ... or he knows.

          DISSOLVE TO:

 INT. BOXCAR - MOVING - DAY

 It is the next morning.  Light is coming from the vents and 
 the lantern which hangs from a peg in the middle of the right 
 side of the car.  Helmut is asleep on the floor with the 
 children huddled around him.  He lies on his side with one 
 arm thrown protectively over the little Czech girl, Inga, 
 and Willie.  Behind him, the Czech birthday boy and the girl 
 with the doll are cuddled close to him.  Other youngsters 
 have their heads on his legs and feet, and all are as close 
 to him as they can get.

 He is, in fact, a sort of human bed.  From the train NOISES 
 o.s. we can tell that the freight train is slowing down.  
 Then, with a jolt, it stops, and o.s. we HEAR a truck engine 
 approaching.  Helmut stirs and sits up, trying to get his 
 bearings.  This arouses some of the children and they too 
 sit up and look around.

      CHILDREN
  What is it?  Are we there, Doork?
  Where are we?  Why are we stopping?

      HELMUT
  I don't know.

 He untangles himself, rises and stretches his numbed arms 
 and legs.  He starts toward the door, but it slides open 
 suddenly and a BURLY GUARD vaults inside.   Behind him we 
 see a truck similar to a moving van being backed up to the 
 boxcar.  Helmut blinks uncertainly at the light pouring 
 through the door.

      BURLY GUARD
  Everybody up.  No noise.

 The children are too startled to move.  The guard notices 
 Helmut and reacts.

      BURLY GUARD
  Who the hell are you?

      HELMUT
  Where are we?

      BURLY GUARD
  How the devil did you get in here?

      HELMUT
  I... I'm from the other prison.  Got 
  locked in -- by accident.

      BURLY GUARD
  Ah, for...
   (shouting out the 
   door)
  Sergeant!

           CUT TO:

 EXT BOXCAR - DAY

 We see now that the train has stopped at an isolated siding.  
 The truck has backed up almost to the door of the boxcar.  A 
 SERGEANT climbs down from the cab of the van and hurries to 
 the boxcar door, the CAMERA PANNING him there.

      SERGEANT
  What's the matter?

      BURLY GUARD
  Look at this.  He's from the other 
  camp.  Got in here with the shipment.

      SERGEANT
  How did that happen?

      HELMUT
  I... I was taking care of the children 
  back there and... accidentally got 
  locked in.

      SERGEANT
  Of all the... What's your name?

      HELMUT
   (realizing he's in 
   big trouble)
  Doork.  Helmut Doork.

 The Sergeant fumes for a moment, then...

      SERGEANT
   (to the guard)
  Put him in the truck with the others.  
  And, let's get going.

           CUT TO:

 INT. BOXCAR - DAY

 ANGLE to the door as the Sergeant disappears.  Reaching out, 
 the Burly Guard lowers the tailgate of the truck so that it 
 forms a bridge to the boxcar.

      BURLY GUARD
   (to the children)
  All right, in the truck, quick now!

 The children, most of whom are on their feet now, hesitate, 
 looking to Helmut for guidance.  The guard seizes one 
 youngster and shoves him toward the door.  Instead, however, 
 the child flies to Helmut and grabs him around the legs.

      BURLY GUARD
  I said move!

      HELMUT
   (quickly)
  Wait.  Let me.
   (to the children)
  Everybody up.  Come on.  Up, up, up.

 He moves around, helping the still seated children to their 
 feet.  When they're all up...

      SERGEANT
   (to Helmut)
  Not you.

      HELMUT
  Don't you want me to stay with them?  
  They'll be frightened without me.

      BURLY GUARD
  Not for long, they won't.

      SERGEANT
   (to guard)
  That's enough.  Get them inside and 
  keep them quiet.

 Burly guard starts to prod the children but they don't move, 
 their eyes are fixed on Helmut.

      BURLY GUARD
   (threateningly)
  MOVE!

      HELMUT
  Do as he says.  And, don't worry, 
  I'll be with you soon.  I promise.

 Reluctantly, the children march off.  They look back 
 frequently at Helmut who waves to them.

      SERGEANT
   (to Helmut)
  Come along, now.

 They walk over to a two-story building.  Helmut looks back 
 in the direction of the children, then looks about the camp.

      HELMUT
  This is just another prison.

      SERGEANT
  What'd you expect?

      HELMUT
  I thought the children were going to 
  a better place.

 The Sergeant, with an incredulous look on his face, stares 
 at Helmut.

 INT. CELL - DAY

 The cell is a small, bare cubicle containing only a cot and 
 an open toilet.  In the wall, fronting on the prison yard, 
 there is a small barred window.  Helmut stops pacing and 
 moves over to it, and looks out.  The CAMERA SWINGS so that 
 it is SHOOTING PAST Helmut's head through the window.  At 
 the far end of the yard we can see the windowless stone 
 buildings.  As Helmut stares out at them, we HEAR approaching 
 footsteps. Helmut stiffens, turns toward the door as the 
 SOUND of the footsteps grows louder and louder.

 The CAMERA SWINGS toward the door as it opens to reveal 
 CAPTAIN CURT RUNKEL, a slender, impeccably groomed and 
 thoroughly Nazified officer of the elite S.S.  He is the 
 embodiment of all Hitlerian ideals.  Runkel strides into the 
 cell.

      RUNKEL
   (over shoulder to 
   guard at door)
  Close the door, and wait out there.

 Guard closes the door.  Runkel studies Helmut coldly.  Without 
 taking his eyes off Helmut, he pulls out a cigarette case, 
 takes out cigarette, lights it and slowly inhales.

      RUNKEL
  You're a remarkable man.  Very 
  remarkable.

 Helmut stirs uneasily.

      RUNKEL
  Have you any idea where you are?

 Helmut shakes his head.

      RUNKEL
  Auschwitz.  This is Auschwitz.
   (a beat)
  Mean anything to you?
   (before Helmut can 
   answer)
  You may have observed we're enlarging 
  our facilities.

 He moves over to the window and looks out, puffing slowly on 
 his cigarette.

      RUNKEL
  Still a great deal of work to be 
  done.
   (proudly)
  It's going to be our most efficient, 
  most modern prison.
   (he turns and smiles)
  And, I might add, most unique.
   (walks back towards 
   Helmut, studying him 
   carefully)

      RUNKEL
  Yes, you are a remarkable man.  I 
  always wonder about remarkable men.
   (then evenly)
  Why did you come here?

      HELMUT
  I explained.  I got locked in the 
  boxcar and...

      RUNKEL
   (cuts in - still bland)
  Ah, yes.  An accident.  Unavoidable 
  I suppose.

      HELMUT
  I was taking care -- I mean, the 
  Commandant requested me to take care 
  of the children.

      RUNKEL
   (a slight note of 
   mockery)
  The Commandant!

 Runkel tosses his cigarette on the floor and very deliberately 
 grinds it out with his boot.

      RUNKEL
  I've spoken to YOUR Commandant.  He 
  hs you listed as an escaped prisoner.

      HELMUT
  Escaped!  But...

      RUNKEL
   (finishing it for him)
  ... it was an accident.
   (his face close to 
   Helmut's)
  Are you one of them, clown?

      HELMUT
   (terrorized at the 
   thought of death)
  No... no!  I'm not one of them.  I'm 
  not !

 Runkel smiles, moves away from Helmut.

      RUNKEL
  You misunderstand completely.  The 
  Judas goat is never killed.  He isn't 
  worth killing.
   (moves to cell door)
  I'm just asking you to lead them.

 ANOTHER ANGLE - FAVORING HELMUT

 His eyes plead, "No.  I can't do it.  No."

      RUNKEL
  Not... even to save your own life?

 For a brief moment, Helmut struggles to find the courage to 
 stand up to Runkel -- but he has no courage and he sinks 
 slowly to his knees, his head bowed.

 CLOSE SHOT - RUNKEL

      RUNKEL
   (victorious)
  I'm glad to see you're not a self-
  appointed martyr.

 TWO SHOT - HELMUT, RUNKEL

 Runkel towers above Helmut who sits back on his haunches, 
 leaning against the wall.

      RUNKEL
  Just think!  Now you're really one 
  of us.

 The truth of Runkel's remark hits Helmut like a devastating 
 blow.   He turns his face to the wall in shame.  Runkel walks 
 to the door, raps on it, the guard outside swings it open.

      HELMUT
   (attempting to get to 
   his feet)
  Sir... Sir... could I... could I 
  have a little time with them before 
  ... before...

 His voice trails off.  Runkel looks at Helmut while he thinks 
 it over.  He moves back to the middle of the cell.

      RUNKEL
  Yes.  Yes, of course.
   (he looks at his watch)
  I can give you about half an hour.
   (a little smile lights 
   his face)
  You see, we're not heartless men 
  here.

          DISSOLVE TO:

 EXT. CHILDRENS' HUT - DAY

 ANGLE to the door as Helmut and the Sergeant approach from 
 o.s.  Helmut has freshened his make-up.

      SERGEANT
  Remember what I told you.

      HELMUT
  There won't be any trouble.

 Helmut goes to the door and starts to open it.  The CAMERA 
 MOVES UP to --

 CLOSE SHOT - HELMUT

 With a great effort, he composes himself and throws open the 
 door.

           CUT TO:

 INT. CHILDRENS' HUT - DAY

 ANGLE to the door, where Helmut stands wearing an enormous 
 grin.  The children are about the barren room in little 
 groups.  When they see Helmut, they leap up and run to him, 
 clinging to him as he closes the door behind him and moves 
 into the room.

      CHILDREN
  Doork, Doork, you came back.  You 
  came back.  We thought you'd left 
  us.  Don't leave us, Doork.

 The children continue to ad lib expressions of mingled fear 
 and delight at his return.  Helmut goes among them, patting 
 their heads comfortingly.

      HELMUT
  There.  There.  It's all right. It's 
  all right.   Everything is going to 
  be all right.

 When the youngsters are calmed, Helmut holds up his hands 
 for silence.

      HELMUT
  Now I want everyone to put on a big 
  smile and sit down, because we're 
  going to have more fun than we've 
  ever had.

 Slowly, still unconvinced that they have nothing to fear, 
 the children sit on the floor.

      HELMUT
  Good.  We'll start by seeing that we 
  all have our names on our heads.

 The children begin to lower their heads so Helmut can check 
 to see if their names are still there.

      HELMUT
   (as he moves among 
   them)
  Yes, yes.  There's Fritz, Maria, 
  Sadie, Inga, Josef, Nathan, Helga, 
  Willie...

 The little girl with the rag doll holds up the doll for Helmut 
 to see.

      HELMUT
  Ah, yes, Frederika!  Good.  I see 
  all of your names.

 This is almost too much for Helmut, but he manages to control 
 himself by turning away for a beat.  Then he turns back to 
 the children, his big smile back in place.

      HELMUT
  Now... on with the show.  Just watch 
  this.

           CUT TO:

 PAN SHOT - CHILDREN

 Their little faces are troubled, worried.

          DISSOLVE TO:

 PAN SHOT - CHILDREN

 It is a half hour later, and now the children are laughing 
 at something Helmut is doing o.s.  The CAMERA PULLS BACK to --

 MED. SHOT - THE GROUP

 Helmut is walking an imaginary tightrope.  Every few steps 
 he almost loses his balance, but with comical gyrations he 
 manages to complete the walk.  He bows deeply to the children -- 
 and falls flat on his face.  The youngsters laugh, applaud 
 and squeal delightedly.

 TWO SHOT - HELMUT, WILLIE

 Helmut is lying on the floor near the boy.  He looks up at 
 the tot and grins.

      WILLIE
  Doork!  Doork... you're great !

 Helmut grabs Willie and holds him close while he fights back 
 his tears.   Willie plants a big kiss on his cheek.  Helmut 
 scrambles to his feet, the CAMERA PULLING BACK to --

 WIDER ANGLE

 SHOOTING PAST Helmut to the door as it opens, revealing the 
 Sergeant, his face expressionless.  Helmut reacts.

      SERGEANT
   (to Helmut)
  It's time.

      HELMUT
  Just a few more minutes?

 The sergeant shakes his head.

      HELMUT
  I'll bring them.

 The children are watching him, puzzled.

      CHILDREN
  What's the matter, Doork?  Where are 
  we going?  You come with us this 
  time.  Where're they taking us.

      HELMUT
   (trying to think what 
   to say)
  They... they want us to move to 
  another building... where we'll have 
  more room... to play.
   (a beat)
  Tell you what.  Let's make it a big 
  circus parade.  Everybody get in a 
  line behind...

 He picks up Willie and stands him near the door.

      HELMUT
   (continuing)
  ... behind Willie here.

 The children scramble up and begin forming a line behind the 
 very proud Willie.  Helmut looks around for the boy with the 
 harmonica.

      HELMUT
  Now, where's our band?  The harmonica?

 He sees the boy and goes to him.  Helmut pantomimes playing 
 the harmonica and points to himself.  The boy smiles widely, 
 fishes the harmonica out of his pocket and holds it up.

      HELMUT
  There we are?  Everybody ready?  
  Here we go.

 Helmut takes his place at the head of the line, like the 
 Pied Piper, leads the youngsters out the door, playing a 
 crude sort of circus parade music.  The little children giggle 
 excitedly as they troupe out.  The older ones seem less 
 certain, but as long as Helmut is with them, they feel secure.

           CUT TO:

 EXT. PRISON YARD - DAY

 As the procession of youngsters emerges from the barracks 
 with Helmut dancing along at its head.  The Sergeant and the 
 other two Guards stand watching in disbelief as the line 
 turns and moves along toward the first of the windowless 
 buildings.

 MED. SHOT - SERGEANT, GUARDS

 They look at each other incredulously.  What they are seeing 
 surpasses their imagination.

 FULL SHOT - HELMUT, CHILDREN

 SHOOTING from a HIGH ANGLE as the procession moves toward 
 the CAMERA.  Helmut looks back at his charges from time to 
 time, smiling and waving and always puffing away on the 
 harmonica.  The children smile back, some timidly and some a 
 bit fearfully, but all smile.

 PAN SHOT - PARADE

 CAMERA PANS in on the children as they march behind Helmut.  
 We see some of them strutting, their little arms swinging 
 freely.  Some of the little ones have to skip to keep up 
 with the others.  They are all smiling.

 CLOSE SHOT - HELMUT

 With each step, Helmut looks about, his eyes searching heaven, 
 praying for the miracle that will save the children... the 
 sudden blast of thunder, the striking down of the guards.

 CLOSE SHOT - SERGEANT, GUARDS

 As they follow the parade warily, almost as if expecting a 
 trick.  They wear scowls worn into their faces by long use.

 MED. SHOT - BUILDING - HELMUT'S POV

 Its steel door gapes open.  Through the open doorway we can 
 see a bare room in which what appears to be shower heads 
 jutting from the wall.  A single ceiling light gives the 
 room a stark appearance.  The CAMERA PULLS BACK and UP as 
 the procession comes up toward the building.

 CLOSE SHOT - HELMUT

 Despair fills his eyes as he realizes that there is to be no 
 miracle.  He looks ahead into the room, his courage fails 
 him and he stops so abruptly that the children behind him 
 run into his legs.  He turns and looks at them, then back to 
 the door.

 WIDER ANGLE

 Almost reluctantly, Helmut stands aside.  He tries to smile, 
 but the result is almost grotesque.  He tries to speak, but 
 no words come.  The Sergeant and the guard drift up toward 
 him, scowling.  Gently, Helmut tousles the hair of little 
 Willie and steers him through the door into the room.  The 
 other children follow him hesitantly.  Helmut puts the 
 harmonica to his lips and begins playing again.

 ANOTHER ANGLE - TAKING IN SERGEANT AND GUARDS

      FIRST GUARD
  Their clothes!  They've got to 
  undress.

 The sergeant starts to move toward the line of children, the 
 Sergeant grabs his arm and stops him.

      SERGEANT
  Leave them alone.

 MED. SHOT - HELMUT, CHILDREN

 SHOOTING over Helmut's shoulder down at the children as they 
 file past him.  Each one hesitates a beat before him and 
 looks up at him.

 Their faces are wondering, but trusting.  They smile 
 tentatively.  Only the little girl with the doll hangs back, 
 waiting for something rather than fearful of entering.  When 
 all of the other children have gone in, she goes up to Helmut 
 and wordlessly holds out her hand in a silent request to 
 enter with him.  In her eyes is the absolute certainty that 
 he will.

 CLOSE SHOT - HELMUT - LITTLE GIRL'S POV

 He looks down at her hand for a long beat.

 MED. SHOT - HELMUT, LITTLE GIRL

 The little girl waits for Helmut, but he doesn't take her 
 hand.  Shyly, she begins to withdraw it.  Suddenly, Helmut 
 reaches out and grabs her hand, clutching it desperately as 
 he needs her innocence to control the panic that is tearing 
 at him.  Holding on to her to steady himself, they walk 
 together into the room, the CAMERA PANNING with them.

           CUT TO:

 INT. CHAMBER - DAY

 ANGLE to the door as Helmut and little girl enter.  Suddenly, 
 the door slams shut behind them.  Helmut whirls to it 
 instinctively, as if to shove it open or cry out for help, 
 but he does neither.

 CLOSE SHOT - HELMUT

 His face is pressed against the steel door.  He fights the 
 panic within him.  Then, he quickly wipes his eyes and turns 
 back towards the children.  Slowly he takes three chunks of 
 stale bread from his coat pocket and begins juggling them, 
 at the same time waggling his head from side to side, slowly 
 at first, then more gaily.  From deep inside him comes a 
 tiny, tiny laugh.  The CAMERA PULLS BACK SLOWLY to reveal 
 the children in the f.g.  Suddenly, Helmut tosses the pieces 
 of bread high, high into the air and stretches out his arms 
 to encompass all the children.  As they gather around him, 
 they take up his soft laugh, timidly at first, then more 
 assuredly until the chamber resounds with gentle laughter.

           CUT TO:

 IF ANOTHER MAN'S CHILD IS THREATENED AND YOU MOVE NOT TO 
 PROTECT IT, THE CHILDREN OF ALL MEN ARE IN JEOPARDY AND YOU 
 STAND AS GUILTY AS THOSE WHO THREATEN.

 JOHN F. O'BRIEN

          FADE OUT

 THE END


The Day The Clown Cried - Movie Talk
"The Day the Clown Cried" - The Complete Reenactment

https://www.youtube.com/watch?v=QjfLlPQD3AU 
  
The Day The Clown Cried Harry Shearer Howard Stern Interview
 
"The Day the Clown Cried" More Behind the Scenes Footage

https://www.youtube.com/watch?v=oM1EmDszKnI

 

1 comment:

  1. IF ANOTHER MAN'S CHILD IS THREATENED AND YOU MOVE NOT TO
    PROTECT IT, THE CHILDREN OF ALL MEN ARE IN JEOPARDY AND YOU
    STAND AS GUILTY AS THOSE WHO THREATEN.

    JOHN F. O'BRIEN

    YES, but today this appllies almost exlusively to Judaic, European and Charlie's children, and not to Palestinian, Afghani, Iraki, Kashmiri, Vietnamese, Japanese, Latino, African, Somali, Lebanese, Sudanese, Rwanda, Arab, Muslim, Bosnian, Chechen, Hindustani, Burmese, Indonesian and other children!
    BAFS

    ReplyDelete