RT - ISRAEL MUST BE MADE TO
SUFFER FOR THEIR CRIMES SAYS BRITISH MP GERALD KAUFMAN MP
https://www.youtube.com/watch?v=VOpEncRcJZM
George Galloway in discussion with Gerald Kaufman
APARTHEID ETHNIC CLEANSING ISRAEL HOLOCAUSTING THE PALESTINIANS WITH UN AND WESTERN COMPLICITY
JERRYGeorge Galloway in discussion with Gerald Kaufman
APARTHEID ETHNIC CLEANSING ISRAEL HOLOCAUSTING THE PALESTINIANS WITH UN AND WESTERN COMPLICITY
HITLER
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!
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
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)
3 For, behold, in those days, and in that time, when I shall bring again the captivity of Judah and Jerusalem,
2 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.
3 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.
4 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;
5 Because ye have taken my silver and my gold, and have carried into your temples my goodly pleasant things:
6 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.
7 Behold, I will raise them out of the place whither ye have sold them, and will return your recompence upon your own head:
8 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.
9 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.
King James Version (KJV)
by Public DomainJerry 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
| Date of Birth | 16 March 1926 , Newark, New Jersey, USA |
| Birth Name | Joseph Levitch |
| Nicknames | Le 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
- 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.
Appointed Honorary Ambassador of Peace for the Harvey Ball Foundation along with Brooke Shields, Jackie Chan, A.V.T. Shankardass, Prince Albert of Monaco, Jack Nicklaus, Greg Norman, Phil Collins, Jimmy Buffett, Dale Earnhardt Jr., Darrell Waltrip, Heather Mills, Yoko Ono, Patch Adams, Sergei Khrushchev and Winnie Mandela.
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.
Jump to:
Overview (4) |
Mini Bio (1) |
Spouse (2) |
Trade Mark (3) |
Trivia (75) |
Personal Quotes (13)
Overview (4)
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
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
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. …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.)
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.
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.”
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.
Contents
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
- Jerry Lewis as Helmut Doork
- Harriet Andersson as Ada Doork
- Anton Diffring as Colonel Bestler
- Ulf Palme as Johann Keltner
- Pierre Étaix as Gustav the Great
- Tomas Bolme as Adolf
- Jonas Bergstrom as Franz
- Bo Brundin as Ludwig
- Lars Amble as Concentration camp guard
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
- "The Official Jerry Lewis Comedy Museum and Store". Jerry Lewis Comedy Classics. Jerry Lewis Comedy Classics. Retrieved 3 August 2012.
- O'Brien, Joan, original story idea; Denton, Charles; Lewis, Jerry, Additional Material. "The Day the Clown Cried - Daily Script". Retrieved August 12, 2013.
- Lewis, Jerry (1982). Jerry Lewis in Person. New York: Pinnacle Books. p. 281. ISBN 0-523-42080-3.
- Jerry Lewis interview first aired January 27, 1973, "The Dick Cavett Show – Comic Legends" DVD, Shout Factory Theatre.
- http://books.google.com/books?id=bsf3-GfE_JoC&lpg=PA42&dq=the%20day%20the%20clown%20cried&pg=PA40#v=onepage&q&f=false
- Enk, Bryan. "Watch Jerry Lewis in Newly-Surfaced Footage of 'The Day the Clown Cried'". Yahoo news. Retrieved August 12, 2013.
- "The Clown, Still Crying". Looker. June 6, 2006. Retrieved June 13, 2012.
- "Life is beautiful". Film Vault. Retrieved June 13, 2012.[dead link]
- "Jakob the Liar". Austin Chronicle. Retrieved June 13, 2012.
- Leigh, Danny (2008-08-03). "Hollywood Beware Clowns". Film blog (London: The Guardian). Retrieved June 13, 2012.
- "Hit & Run 5/31/01". Suck.com. Retrieved June 13, 2012.
- Always Leave 'Em Laughing. SPIN. Retrieved March 4, 2013.
- "The Day The Clown Cried: Jerry Lewis Answers THE Question". Sherman Allen, YouTube. Retrieved April 13, 2013.
- "Child actor, 87, takes Cannes by storm". Globe and Mail. May 24, 2013. Retrieved May 24, 2013.
- "Op 9 april 1972 zond de VRT dit uit" (in Dutch). VRT. April 9, 2012. Retrieved November 21, 2013.
- "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
- Footage of the Day the Clown Cried from Kliph Nesteroff
- The Day The Clown Cried at the Internet Movie Database
- Jerry Lewis’ The Day the Clown Cried Revealed!, Film Threat
- Film summary from The Official Jerry Lewis Comedy Museum
- "Jerry Lewis Goes to Death Camp" 1992 Spy magazine article on The Day the Clown Cried, including commentary from cast members and people who purport to have seen the rough cut
- "The Day the Clown Cried - Daily Script". Retrieved August 12, 2013.
- Enk, Bryan. "Watch Jerry Lewis in Newly-Surfaced Footage of 'The Day the Clown Cried'". Yahoo news. Retrieved August 12, 2013.
[hide]
Films directed by Jerry Lewis
- The Bellboy (1960)
- The Ladies Man (1961)
- The Errand Boy (1961)
- The Nutty Professor (1963)
- The Patsy (1964)
- The Family Jewels (1965)
- Three on a Couch (1966)
- The Big Mouth (1967)
- One More Time (1970)
- Which Way to the Front? (1970)
- The Day the Clown Cried (1972)
- Hardly Working (1980)
- Cracking Up (1983)
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
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.
Contents
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
- Jerry Lewis as Helmut Doork
- Harriet Andersson as Ada Doork
- Anton Diffring as Colonel Bestler
- Ulf Palme as Johann Keltner
- Pierre Étaix as Gustav the Great
- Tomas Bolme as Adolf
- Jonas Bergstrom as Franz
- Bo Brundin as Ludwig
- Lars Amble as Concentration camp guard
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
- "The Official Jerry Lewis Comedy Museum and Store". Jerry Lewis Comedy Classics. Jerry Lewis Comedy Classics. Retrieved 3 August 2012.
- O'Brien, Joan, original story idea; Denton, Charles; Lewis, Jerry, Additional Material. "The Day the Clown Cried - Daily Script". Retrieved August 12, 2013.
- Lewis, Jerry (1982). Jerry Lewis in Person. New York: Pinnacle Books. p. 281. ISBN 0-523-42080-3.
- Jerry Lewis interview first aired January 27, 1973, "The Dick Cavett Show – Comic Legends" DVD, Shout Factory Theatre.
- http://books.google.com/books?id=bsf3-GfE_JoC&lpg=PA42&dq=the%20day%20the%20clown%20cried&pg=PA40#v=onepage&q&f=false
- Enk, Bryan. "Watch Jerry Lewis in Newly-Surfaced Footage of 'The Day the Clown Cried'". Yahoo news. Retrieved August 12, 2013.
- "The Clown, Still Crying". Looker. June 6, 2006. Retrieved June 13, 2012.
- "Life is beautiful". Film Vault. Retrieved June 13, 2012.[dead link]
- "Jakob the Liar". Austin Chronicle. Retrieved June 13, 2012.
- Leigh, Danny (2008-08-03). "Hollywood Beware Clowns". Film blog (London: The Guardian). Retrieved June 13, 2012.
- "Hit & Run 5/31/01". Suck.com. Retrieved June 13, 2012.
- Always Leave 'Em Laughing. SPIN. Retrieved March 4, 2013.
- "The Day The Clown Cried: Jerry Lewis Answers THE Question". Sherman Allen, YouTube. Retrieved April 13, 2013.
- "Child actor, 87, takes Cannes by storm". Globe and Mail. May 24, 2013. Retrieved May 24, 2013.
- "Op 9 april 1972 zond de VRT dit uit" (in Dutch). VRT. April 9, 2012. Retrieved November 21, 2013.
- "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
- Footage of the Day the Clown Cried from Kliph Nesteroff
- The Day The Clown Cried at the Internet Movie Database
- Jerry Lewis’ The Day the Clown Cried Revealed!, Film Threat
- Film summary from The Official Jerry Lewis Comedy Museum
- "Jerry Lewis Goes to Death Camp" 1992 Spy magazine article on The Day the Clown Cried, including commentary from cast members and people who purport to have seen the rough cut
- "The Day the Clown Cried - Daily Script". Retrieved August 12, 2013.
- Enk, Bryan. "Watch Jerry Lewis in Newly-Surfaced Footage of 'The Day the Clown Cried'". Yahoo news. Retrieved August 12, 2013.
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Films directed by Jerry Lewis
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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 ENDThe Day The Clown Cried - Movie Talk"The Day the Clown Cried" - The Complete Reenactment
https://www.youtube.com/watch?v=QjfLlPQD3AUThe 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
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