INGLOURIOUS BASTERDS I Libreto.-a

INGLOURIOUS BASTERDS Written by Quentin Tarantino

Inglourious Basterds es una película de 2009 escrita y dirigida por Quentin Tarantino y protagonizada por Brad Pitt, Christoph Waltz y Mélanie Laurent. Titulada Malditos bastardos​ en España y Bastardos sin gloria en Hispanoamérica, la película es una ficción ucrónica sobre la segunda guerra mundial. 

CARTEL

El estilo recuerda al spaghetti western y al cine bélico italiano de los años 1960. Christoph Waltz, que interpretó al Standartenführer Hans Landa, recibió el premio al mejor actor en el Festival de Cannes, el premio al mejor actor de reparto del Sindicato de Actores, el Globo de Oro y Óscar en la misma categoría.

Argumento Dos historias convergen. Una sigue a un grupo de soldados, cuya misión es matar nazis con la participación de una miembro de la resistencia alemana. La otra historia sigue a una joven judía que busca venganza por la muerte de su familia en manos de los nazis, y en cuyo cine va a reunirse la cúpula nazi en el estreno de una película. El oficial del SD, el Standartenführer Hans Landa (Christoph Waltz), cuya personalidad recuerda al célebre verdugo nazi Reinhard Heydrich, se dedica a perseguir a familias judías en una región francesa. Un día llega a una casa e interroga al dueño de la misma, Perrier LaPadite (Denis Menochet) acerca de una familia judía desaparecida. Landa promete no molestar nunca a su familia si le dice la verdad y LaPadite, aterrorizado, acaba confesando que hay un refugio bajo el suelo de su hogar en el que está escondida una familia judía, los Dreyfus, antiguos vecinos suyos, que acaban todos siendo asesinados, excepto la adolescente Shoshanna (Mélanie Laurent), a la que Landa deja escapar. La joven huye lejos del lugar, llorando aterrorizada y bañada con la sangre de su familia y amigos asesinados a tiros por los soldados nazis. Años después, Aldo el Apache Raine (Brad Pitt), un teniente primero del ejército estadounidense, recluta a un grupo de soldados judíos, estadounidenses y alemanes con una misión: en lugar de infiltrarse como otros comandos en territorio para misiones de sabotaje y colaboración con la resistencia francesa, van a dedicarse exclusivamente a matar soldados alemanes con los métodos más horribles posibles con tal de provocar terror en las filas nazis. Un día, los Bastardos emboscan a un escuadrón alemán, matándolos a casi todos.  El sargento Werner Rachtman (Richard Sammel) es interrogado por Raine, que en busca de nuevos objetivos, quiere saber dónde hay más patrullas alemanas, y con qué efectivos y material cuentan los alemanes en la zona. Werner se niega, y Raine le dice que si no habla, dejará que le interrogue el sargento Donny Oso Judío Donowitz (Eli Roth), conocido por golpear a los nazis con un bate de béisbol en la cabeza. Raine le pregunta por última vez y Werner, de nuevo rehúsa a responder, por lo que Raine llama a Donowitz, que mata a Werner a golpes con el bate.  El único sobreviviente, Butz, le dice aterrorizado a Raine todo lo que los Bastardos desean saber. Raine le advierte que de contar la verdad a sus superiores, será asesinado por traidor, por lo que le induce a alegar que le dejaron ir para que le pudiera contar a todos los alemanes qué les pasará cuando se encuentren con los Bastardos. Luego le pregunta qué hará después de la guerra y Butz le dice que abrazará a su madre y quemará su uniforme nazi. No conforme con la respuesta, ya que eso ocultaría el hecho de que fue un nazi, Raine le marca una esvástica en la frente.  Cortarle el cuero cabelludo a los muertos, dejar a un solo sobreviviente para que corra el rumor, y marcarle una esvástica en la frente con un cuchillo de caza, se revela como el modus operandi de los Bastardos. Los rumores llegan hasta el mismo Adolf Hitler (Martin Wuttke), que se propone aniquilar a los Bastardos. La tercera historia que se entrecruzará con las otras dos es la de una actriz alemana que trabaja para los británicos, llamada Bridget von Hammersmark (Diane Kruger), que pretende entrevistarse con el teniente británico Archie Hicox (Michael Fassbender), acompañado por los Bastardos Hugo Stiglitz (Til Schweiger) y Wilhelm Wicki (Gedeon Burkhard), todos con uniformes de oficiales alemanes. La cita se da en una taberna llamada La Louisiane, en la localidad francesa imaginaria de Nadine, donde ella pasaría información a los tres hombres.  Pero un grupo de soldados alemanes de permiso, -celebrando que uno de ellos ha tenido un hijo- y un inquisitivo oficial de las SS, Dieter Hellstrom (August Diehl), desbaratarán la cita con resultados nefastos para todos. Este oficial de las SS descubre la trampa y se da un tiroteo en el que mueren todos los alemanes, el teniente y los dos "Bastardos".  La actriz resulta herida en la pierna izquierda. En la huida se deja allí el zapato derecho, que es encontrado por el oficial Hans Landa además de una dedicatoria en una servilleta firmada con su nombre al hijo del soldado que había sido padre, con lo cual queda totalmente identificada. Las historias paralelas desembocan cuando la bella dueña de un cine francés, que se hace llamar Emanuelle Mimieux (quien en realidad es la fugada judía Shoshanna Dreyfus), llama la atención del asistente del ministro de Propaganda Joseph Goebbels (Sylvester Groth). El asistente es un héroe de la Wehrmacht llamado Fredrick Zoller (Daniel Brühl), famoso por abatir decenas de soldados aliados como francotirador desde un campanario en Italia, y que se interpreta a sí mismo en una película recreando estos hechos. Él intenta conquistar a la bella francesa Emanuelle, mientras los nazis confiscan el cine para una exhibición de la película a la cual asistirán miembros de la cúpula nazi, incluyendo a Hitler. Zoller ignora que Emanuelle/Shoshanna se valdrá de su galanteo para sus fines de venganza. Shoshana maneja el cine con un joven llamado Marcel, quien es además su pareja. Tanto Shoshanna como Bridget se verán acosadas por Hans Landa, quien descubrirá la trama del complot al encontrarse con Hirschberg, Raine y Donowitz en el cine de Shoshanna, infiltrándose como acompañantes de Bridget. Al descubrir la relación entre von Hammersmark y la reunión fallida de los Bastardos en la taberna, Landa estrangula a la actriz, para luego capturar a Aldo Raine y Smithson Utivich (B.J. Novak). En la sala del proyector, Shoshanna dispara a Zoller, pero este logra matarla antes de morir. Mientras Marcel incendia el cine usando las cintas de película, los Bastardos Donowitz y Omar empiezan a disparar a todos los que están allí durante el incendio, asesinando a Hitler y a Goebbels.  Finalmente, unas bombas que los dos Bastardos habían traído explotan. Minutos antes de la explosión, Aldo Raine y Utivich logran negociar con Landa un acuerdo por el cual él no advierte al alto mando nazi sobre los explosivos a cambio de asilo en territorio estadounidense y un salvoconducto, entre otros privilegios. Proceden a atravesar la frontera con el exoficial nazi y, aprovechando el agujero legal dejado por su lista de condiciones, Raine y Utivich matan al oficial acompañante de Landa (ya que sólo querían al oficial superior) y le dicen que como fue leal a la Alemania nazi, no puede quitarse el uniforme (que prueba su lealtad), pero llegando a su destino lo hará; así que, con el cuchillo del teniente, le hacen en la frente el símbolo que les dejan a sus supervivientes: la esvástica.

Reparto Aldo Raine "El apache" Brad Pitt como el teniente Aldo Raine "El apache", un oficial originario de Tennessee quien forma un equipo de ocho soldados estadounidenses judíos. El personaje ha sido descrito como «un criminal influenciable y de espíritu libre» similar a Jules Winnfield, de Pulp Fiction. Christoph Waltz Christoph Waltz como el coronel Hans Landa, el Cazajudíos, un asesino de judíos que mata a la familia de Shosanna. Emmanuelle Mimieux  Emmanuelle Mimieux Mélanie Laurent  Mélanie Laurent como Shosanna Dreyfus / Emmanuelle Mimieux, una joven francesa judía a quien los nazis dejaron huérfana al matar a toda su familia, y, a la vez que el general Fenech, también trama un plan para asesinar a todos los líderes nazis. Michael Fassbender como Archie Hicox, teniente del ejército británico. Eli Roth como el sargento Donnie Donowitz, llamado el Oso Judío, asesino de nazis. Diane Kruger como Bridget Von Hammersmark, actriz alemana de la época, y agente al servicio de los Aliados. Daniel Brühl como Frederick Zoller, un cabo y héroe de guerra alemán que se siente fuertemente atraído a Shosanna. Til Schweiger como Hugo Stiglitz, un alemán psicópata que asesina nazis. Gedeon Burkhard como Wilhelm Wicki, traductor de «los Bastardos de Aldo». B.J. Novak como Smithson Utivitch, soldado judío norteamericano. Samm Levine como el soldado Hirschberg. Omar Doom como Omar Ulmer. Paul Rust como Andy Kagan. Christian Berkel como Eric. August Diehl como Dieter Hellstrom, coronel de las Gestapo. Julie Dreyfus como Francesca Mondino, asistente personal y traductora de Joseph Goebbels. Sylvester Groth como Joseph Goebbels. Jacky Ido como Marcel, ayudante y amor de Shosanna. Denis Ménochet como Perrier LaPadite, el lechero francés que ocultaba a la familia judía. Mike Myers como el general Ed Fenech, un «cerebro militar» británico quien hace un plan para asesinar a los líderes nazis. Rod Taylor como Winston Churchill. Martin Wuttke como Adolf Hitler. Michael Bacall como el soldado Michael Zimmerman. Cloris Leachman como la Sra. Himmelstein. Léa Seydoux como Charlotte LaPadite. Samuel L. Jackson como el narrador.

Frases de la película Bastardos sin gloria. ¡Amo los rumores! Los hechos suelen ser tan vagos, mientras que los rumores, ciertos o falsos, a menudo son muy reveladores. Si uno quisiera determinar qué atributo comparte un judío con una bestia, sería el de una rata. Considere por un momento, el mundo en el que vive una rata. Sin embargo, no importa lo interesante que el pensamiento pueda ser, no hará nada de diferencia a como usted se siente. No sabe por qué no le gustan. Todo lo que usted sabe es que le son repulsivas. Porque sé lo que tremendos desechos de humanidad son capaces de hacer una vez que abandonaron su dignidad. ¿Puedo fumar mi pipa yo también? ¡Adiós Shoshanna! Y no sé ustedes, pero les aseguro que no iremos por las montañas nublosas, ni cruzaremos 5 mil millas de agua, ni seguiremos avanzando por la mitad de Sicilia ni saltaremos de un maldito avión, para enseñarles a los nazis una lección de humanidad. Los nazis no tienen humanidad. Son soldados odia judíos asesinos de masas y tienen que ser destruidos. Y cuando los alemanes cierren los ojos en la noche y su subconsciente los torture por la maldad que han hecho, serán sus pensamientos sobre nosotros los que los torturen. ¿Suena bien? Queremos decirle que somos seguidores de su trabajo, en relación a matar nazis. Si ha oído de nosotros, probablemente sabe que no estamos en el negocio de tomar prisioneros. Estamos en el negocio de matar nazis y el negocio es todo un éxito. Y francamente ver a Donny golpear a un nazi es lo más cercano que tenemos de ir al cine. Aquí hay un alemán dispuesto a morir por su país. Complácelo. Verás, nos gustan nuestros nazis con uniforme, así los ubicamos de inmediato. Es solo la descendencia de esclavos lo que le permite a América ser competitiva atléticamente. La medalla olímpica de oro, América la gano con sudor negro. Voy a quemar el cine en la noche nazi. Y si lo hago, y lo haré, ambos sabemos que no me dejarás hacerlo sola. Porque me amas. Y yo te amo. Y eres la única persona en la tierra en la que puedo confiar. Básicamente tendremos todos los huevos podridos en una sola canasta. Sabes, pelear en el sótano nos trae muchas dificultades, la número uno siendo que estás peleando en un maldito sótano. - Solo si la señorita considera mi presencia una intromisión, entonces me convertiré en intruso. Entonces señorita Fraulein Von Hammersmark: ¿estoy interrumpiendo? - No - Yo no lo creo. Es solamente que el capitán es inmune a mis encantos. - ¿Has oído eso? es el sonido de mi arma apuntando a tus testículos. - ¿Por qué tienes un arma apuntando a mis testículos? Parece que el pequeño Maximiliano va a crecer huérfano. Qué triste. - Quiero confiar en ti pero... ¿cómo podría hacerlo? - ¿Qué otras opciones tienes? No me veo próximamente caminando por la alfombra roja. Al menos no mañana. ¡Cógete a un pato! Sé que esta es una pregunta estúpida aún antes de preguntarla: ¿Pueden ustedes americanos hablar alguna otra lengua además del inglés? - Suena a un buen plan. - Suena como la mierda, pero ¿qué más vamos a hacer? ¿irnos a casa? - Omar es el tercero que mejor habla italiano, irá como tu asistente. - Yo no hablo italiano. - Como dije, el tercero. Sólo mantén la boca cerrada. De hecho, empieza a practicar desde ya. Bonjorno - ¡Dominic DeCoco! - ¡¡Bravo!! - Dígame Aldo, si yo estuviera donde está usted sentado, ¿me mostraría piedad? - Nop. - ¿Como es esa expresión americana sobre zapatos y pies? - Parece que el zapato está en el otro pie. - ¿Tú controlas los apodos que tus enemigos te ponen? ¿Aldo el apache y el hombre pequeño? - ¿A qué te refieres con hombre pequeño? - Es el apodo alemán para ti. Y estoy un poco sorprendido de lo alto que eres en la vida real. Eres un poco pequeño pero no enano de circo como sugería tu reputación. Entonces, caballeros, discutamos el prospecto de terminar la guerra esta noche. - Quiero que miren profundamente la cara de la judía que los va a matar. Marcel, quémalo todo. - Sí Shoshanna. - ¡Será disparado por esto! - Na, no lo creo, solo me reprenderán. Ya he sido reprendido antes. ¿Por qué no le doy algo que no se pueda quitar?

10 datos que seguro no conocías de ‘Bastardos sin Gloria’ Escrita y dirigida por Quentin Tarantino, y acá te dejamos algunos datos curiosos que quizás no conocías: 1.-“Once Upon a Time in Nazi-Occupied France” Sin saberlo Tarantino tenía en sus manos el nombre de una de sus futuras películas. Esto es porque su idea era que Bastardos fuera una mezcla de cine bélico y spaghetti western. Sin embargo, terminó por dejar este nombre para el primer capítulo de esta historia. 2.-“Inglourious Basterds” por qué basterds y no bastards El nombre de bastardos en inglés está mal escrito y nunca sabremos la razón. El mismo Tarantino dijo al respecto: “Nunca voy a explicarlo, porque hacerlo lo arruinaría”. Y lo bancamos, a veces el misterio es más atractivo. 3.-Le llevó más de 10 años crearla La idea para Bastardos sin gloria empezó allá por 1994 durante Pulp Fiction, la empezó a escribir antes que Kill Bill (2003), pero como no podía encontrarle un buen final decidió posponerla unos años más. 4.-Hans Landa, un personaje difícil de interpretar La película estuvo a punto de ser cancelada durante el casting para encontrar al actor que pudiera interpretar al Coronel Nazi Hans Landa, un personaje malvado, pero atrapante. Tarantino creía que había escrito un personaje imposible de interpretar. Afortunadamente, el gran Christoph Waltz apareció y todo fue perfecto. 5.-La razón por la que Til Schweiger decidió trabajar en la pelicula. En una charla Tarantino le contó a Brad Pitt que el  actor alemán, que interpreta al sargento Hugo Stiglitz, solo aceptó actuar y ponerse un uniforme Nazi porque su personaje iba a asesinar nazis. 6.-La Academia amo Bastardos sin gloria Podemos decirlo  porque esta es la película de Tarantino con más nominaciones a los premios Oscar. Tuvo 8 en total. Y además, es la primera que se gana una estatuilla por Mejor Actor de Reparto. El premio se la llevó Christoph Waltz, quien en 2012 también se la ganó por su actuación en Django sin cadenas. 7.-Melanie dejó todo para ponerse en la piel del personaje La actriz Melanie Laurent, que interpreta a Shosanna, trabajó durante algunas semanas como proyectista en el New Beverly Cinema, un cine histórico ubicado en Los Ángeles. Allí proyectó dibujos animados y trailers antes de los shows. 8.-Eli Roth dirigió la película dentro de la película En Bastardos se pueden ver fragmentos de “Nation´s Pride” una producción propagandística de los alemanes. El actor, productor y director Eli Roth, que también actúa en la cinta, fue el encargado de filmar este corto de 5 minutos y 30 segundos. Lo hizo junto a su hermano y el actor Daniel Brühl que también participa del film. 9-Un homenaje para Margheriti En la escena en la que el sargento Donny Donowitz, interpretado por Eli Roth, usa el alias Antonio Margheriti este nombre hace referencia al director italiano de quien Tarantino y Roth son fanáticos. 10.-Un film inspirado en una historia real Ojo, Bastardo sin gloria es una ficción, pero está inspirada en una operación real del ejército estadounidense conocida como la ‘Operación Greenup’. En 1944, la Oficina de Servicios Estratégicos de Estados Unidos, entrenó a tres soldado para enviarlos a sabotear y espiar al enemigo. Dos de ellos, Frederick Mayer y Hans Wynberg, eran judíos exiliados que habían abandonado sus países debido a las amenazas de los nazis. El tercero era un prisionero austriaco llamado Franz Weber, que habías sido un oficial nazi que desertó debido a sus ideas opuestas a la ideología dominante en Alemania.

Guionista y director  Quentin Jerome Tarantino (Knoxville, Tennessee; 27 de marzo de 1963) es un director, productor, guionista, editor y actor de cine y televisión estadounidense. Su carrera comenzó a finales de la década de 1980, cuando escribió y dirigió My Best Friend's Birthday —cortometraje cuyo guion sería la base del argumento de la película True Romance, de Tony Scott (1993)—. En 1992 inició su carrera como cineasta independiente con el estreno de Reservoir Dogs, considerada por la revista Empire como «la mejor película independiente de todos los tiempos» Su popularidad no hizo sino crecer con su segundo largometraje, Pulp Fiction (1994), una comedia negra antológica que se convirtió en un enorme éxito de crítica y público, además de una pieza fundamental de la cultura popular.​ El semanario Entertainment Weekly la designó como la mejor película estrenada entre 1983 y 2008, y algunos críticos del British Film Institute la colocaron en el número 127 de las mejores películas de todos los tiempos.​ En Jackie Brown (1997), Tarantino rindió homenaje al género blaxploitation. Seis años después, en la película dividida en dos partes, Kill Bill (2003-2004), Tarantino ofreció un relato de venganza que aúna tradiciones cinematográficas del cine de kung-fu, artes marciales japonesas, spaghetti western y terror italiano (giallo). En 2007 dirigió Death Proof, junto a su amigo Robert Rodriguez, y dos años después estrenó un proyecto largamente pospuesto y bien valorado por la crítica, Inglourious Basterds, que cuenta una ucronía sobre dos planes distintos para asesinar a los líderes políticos de la Alemania nazi. ​ En 2012, con Django Unchained, Tarantino filmó su homenaje al wéstern, centrado en el mundo esclavista del sur de los Estados Unidos justo antes de la Guerra de Secesión, y que con una recaudación de 425 millones de dólares se alzó como su película con mayores ganancias en taquilla.  En su octavo largometraje, The Hateful Eight (2015), rinde homenaje a las películas wéstern de gran presupuesto de 1960 y 1970, además de haber sido rodada en 70 mm. Cuatro años después, Tarantino volvería a lo grande con Once Upon a Time in Hollywood (2019). La historia se centra en la vida del actor de Hollywood venido a menos, Rick Dalton (Leonardo DiCaprio), y la de su amigo y doble de acción, Cliff Booth (Brad Pitt). De manera paralela a la trama principal, se narran fragmentos de la vida de la actriz Sharon Tate (Margot Robbie) y de los miembros del culto la Familia Manson, liderada por Charles Manson. El cine de Tarantino ha sido elogiado por la crítica y ha gozado del favor del público general, lo que lo ha convertido en un éxito comercial.​ Por ello, ha recibido numerosos galardones, como dos premios Óscar, dos Globos de Oro, dos premios BAFTA y la Palma de Oro del Festival de Cannes. En 2005 la revista Time lo incluyó en su lista de las 100 personas más influyentes y el cineasta e historiador Peter Bogdanovich también afirmó que es «el director más influyente de su generación».​  En diciembre de 2015, Tarantino recibió una estrella en el Paseo de la Fama de Hollywood por sus contribuciones a la industria del cine.

El test del tiempo llaman los norteamericanos a eso que las películas pueden o no soportar.  Algunas aguantan el test mejor que otras y, estas semanas, viendo primero JACKIE BROWN y luego BASTARDOS SIN GLORIA tuve la sensación que la primera se había conservado mucho mejor que la segunda. Acaso no en términos estrictamente cinematográficos —algunos planos de JACKIE BROWN son tan noventas que duelen mientras que BASTARDOS…, al ser de época, es más difícil de fechar— sino en lo que respecta a su profundidad, su entonces entendida radicalidad. Hoy, la primera parece más riesgosa y fuera de contexto que la segunda. BASTARDOS SIN GLORIA ha perdido bastante del poder si se quiere político que se le atribuyó en ese momento y se ha convertido en otra cosa. Quizás impactado por el radical cambio en la Historia que Tarantino en ese momento decidió hacer a partir del uso literal del cine como arma, no supe ver la película como una comedia. Hoy, sabiendo ese final y después de haber visto otros ejercicios similares en los que QT decidió crear un mundo paralelo en sus películas –un mundo en el que la Historia es como él quiere que sea–, ese aspecto me impresionó menos y me dejé llevar más por la creatividad, el ingenio y el suspenso para la resolución de muchas de las escenas. Su potencia emocional acaso decreció y revaloricé su específica y muy curiosa factura. La primera escena de BASTARDOS SIN GLORIA es tan pero tan buena que la película existe, vibra y se sostiene gracias a ella. Tengo la impresión que sin esa escena —o sin su impecable ejecución— casi no tendría sentido todo lo que sigue. La tensión y el suspenso, los toques de comedia que le aporta el personaje de Hans Landa —hay que recordar que, en ese momento, nadie conocía ni había visto nunca actuar a Christoph Waltz— y la marca que deja la masacre en el personaje de Shoshanna es la razón de existir de la película, un disparador emocional que hace que casi todas las escenas posteriores tengan una tensión y una vibración extra. Su encuentro con el soldado-actor-héroe de guerra nazi que encarna Daniel Brühl, su “reencuentro” con Landa y su paralelo plan para matar a Hitler giran a partir de allí. Eso no sucede del todo la paralela trama de Aldo Raine (Brad Pitt), su grupo de cazadores de nazis y las escenas que juegan Diane Kruger, Michael Fassbender y compañía. Allí lo que hay es uno de los intentos más desbocados de parte de Tarantino de apostar por la comedia. Desde la personificación de Pitt al espía/crítico de cine de Fassbender, de los dislates de los otros “bastardos” a la pelea en el bar subterráneo que los reúne a todos, las escenas ahí funcionan menos como relatos de suspenso que como comedia, especialmente cuando uno vuelve a ver la película y sabe cómo se resolverá. Escenas como las del encuentro de los bastardos hablando en italiano con Landa, los diálogos que mantienen al finalizar la escena del juego de cartas en el bar, todo lo ligado a Hitler y al servicio secreto británico aportan momentos cómicos brillantes que logran combinarse muy bien con los más dramáticos que encarna Melanie Laurent y sus diversos partenaires. En ese punto son dos películas en una, dos tramas para matar a Hitler que corren en paralelo: una dramática y otra cómica. De todos modos también se me hicieron un poco más evidentes sus problemas: algunas escenas no funcionan del todo bien o se alargan demasiado (la de los juegos de cartas en el bar debería ser más breve), hay momentos de regodeo cómico que sobran y muchos solo son salvados por el carisma de Waltz, y promediando el relato uno tiene la sensación que la película no encuentra del todo el rumbo. Pero como sucede con muchas de las películas de QT hay un momento en el que todo hace clic y vuelve a la vida. Lo innecesario se vuelve importante y lo importante, fundamental. Ese momento es, claramente para mí, lo que sucede después del “clip” de Shoshanna con la canción de David Bowie. Desde ese episodio en adelante la película se termina por encontrar a sí misma y ya no afloja más. Esta idea de volver a trabajar el tema de la venganza pero ahora desde un costado político, haciendo que el cine modifique la vida real a la manera de un justiciero simbólico (algo que mantendrá en casi todas sus películas de ahí en más) le permitirá encontrarle un nuevo sentido a ese tema tan caro a Tarantino. Ya no es –como en KILL BILL o en varias de sus películas anteriores– la revancha como un asunto privado sino que lo privado al ser social se vuelve político. Me da la impresión que la idea de reescribir la Historia en sus películas no es necesariamente un gesto egocéntrico de parte de Tarantino sino una declaración de amor al cine de parte de alguien que ha vivido más adentro de sus historias que de la Historia. Acaso el ejercicio que lleva haciendo el director desde entonces hacia ahora sea el máximo sueño de un cinéfilo enciclopédico: no solo hacer que la vida se parezca al cine sino que el cine reemplace a la vida, que tome su lugar, poder manipular los actos para que los resultados respondan a nuestros deseos y no a la realidad. Un ejercicio de cine total, una cinemateca de Babel que reemplace al mundo todo entero. Inglorious Basterds de Tarantino se centra en dos intentos independientes de asesinar al alto mando nazi durante el estreno en París de una nueva película de propaganda. Dividida en 5 capítulos, la película sigue los planes del teniente estadounidense Aldo Raine (Brad Pitt) y su grupo de guerrilleros judíos, paralelamente a Shoshanna Dreyfus (Mélanie Laurent), una judía escondida, ya que ambos planean eliminar a la alta sociedad. -miembros de rango del partido nazi.  En oposición a ellos está el coronel Hans Landa (Christoph Waltz), un astuto oficial de las SS que también es el jefe de seguridad del primer ministro. Durante el capítulo final de la película, Landa captura a Raine y a uno de sus soldados, Smithson Utivich (BJ Novak), y les ofrece un trato, si convencen a los comandantes aliados de que le otorguen inmunidad (entre otros beneficios, como su propio isla), no alertará a las fuerzas de seguridad nazis y no permitirá que los hombres restantes de Raine continúen con su plan de asesinato (ambas partes desconocen el plan de Shoshanna).

La escena de la negociación.   La escena de la negociación comienza con ambas partes sentadas una frente a la otra en dos lados de una mesa algo pequeña. Esta toma prepara el escenario para los siguientes, y al usar la inteligente ubicación de la cámara, Tarantino nos permite saber quién está a cargo exactamente. Cuando comienza la conversación, ambas partes comentan el apodo del otro en una secuencia de exposición algo alegre. Durante esta parte, obtenemos tomas de perfil igual de Hans y Raine: la cámara está colocada de manera que sus frentes coincidan en altura y la mesa es un detalle menor (en las tomas de Landa) o fuera de la vista (toma de Raine). Una vez que comienzan las negociaciones, obtenemos una historia diferente. Durante las tomas de Landa, Tarantino coloca la cámara de una manera que hace que la misma mesa parezca enorme. El teléfono y el vino están separados, mientras que el coronel se sienta cómodamente en el centro. Tiene mucho espacio para sí mismo: actualmente es el poder más fuerte, está a cargo. Sin embargo, durante la toma de Raine, la cámara lo muestra a él y a Utivich con una luz completamente diferente. La cámara está inclinada hacia abajo para mostrar apenas la mesa, y tanto el teléfono como las copas de vino bloquean una parte notable de la toma para dar una sensación de claustrofobia. El pequeño espacio, que se suma al hecho de que ambos hombres están atados y colocados muy juntos, indica que en este momento son impotentes. Sin embargo, una vez que Landa hace su oferta, la balanza se inclina. Ya no es él la única fuerza dominante en la escena: Aldo tiene el poder de rechazar o aceptar la oferta de Landa (obviamente Landa quiere que acepte, de lo contrario ni siquiera lo habría mencionado). Landa ofrece vino a los hombres y, de repente, su tiro se llena, tiene menos espacio y, por lo tanto, menos poder. Volviendo a la toma de Raine, el teléfono se ha ido y las gafas ahora están justo al lado de los estadounidenses, apenas obstruyendo nada. Aldo tiene más espacio en el tiro para reflejar que ahora tiene una mejor posición en la negociación. Y, una vez más, todo esto se hace desde la perspectiva de una mesa pequeña, aparentemente sin sentido.

El siniestro encanto del coronel Hans Landa La lengua venenosa de un cazador de judíos. foto Hans Landa (que también es un villano de Tarantino con mucho estilo) es probablemente el mejor villano del cine y el mejor personaje en la que muchos consideran la obra maestra de Quentin Tarantino. El coronel de la SS se establece como el gran villano de la historia desde el primer minuto en el que aparece en escena, es un soldado que disfruta su trabajo y su crueldad, juega con la mente de todo el que se cruza por su camino y es capáz de convertir cada situación en un caos, y no habría sido igual sin ese toque de cinismo y humor negro que Christoph Waltz le otorgó. Landa y su “Au revoir, Shoshanna” quedarán por siempre grabados en las mentes de todos los fanáticos de Tarantino. Hans Landa es un cazador profesional de los judíos durante la II Guerra Mundial. Así lo consideran sus enemigos y así se etiqueta él, encantado de conocerse:  «Me encanta el título no oficial que me han dado, justamente porque me lo he ganado. Lo que hace de mí un cazador de judíos tan eficaz es que, al contrario de la mayoría de los soldados alemanes, sé pensar como un judío, mientras que ellos sólo saben pensar como alemanes o, más exactamente, como soldados alemanes». Los rastreadores del territorio Tarantino (como se sabe, hecho de infinidad de paisajes cinematográficos, todos los nombres de sus personajes tienen algún tipo de guiño y homenaje) concluyen que el director tomó prestados rasgos del coronel Douglas Mortimer en La muerte tenía un precio (Lee van Cleef le prestaba su memorable rostro de reptil). Mortimer era un cazador de recompensas implacable que, curiosamente, fumaba una pipa similar a la que usa Landa, y que también era la favorita de Sherlock Holmes. Landa, cuya elegante y sibilina astucia para realizar su sanguinario trabajo lo emparenta con muchos de los malvados a los que se han enfrentado los James Bond a lo largo de su historia, se permite incluso la provocación de beber leche (algunos lo ven como una metáfora de la inocencia perdida o un trauma de la infancia, del mismo modo que la aparatosa pipa puede entenderse como un alarde de virilidad, igual se pasan). El nexo de unión con Holmes parece más comprensible: como el célebre detective, Landa (y él mismo se define a sí mismo como tal) escenifica toda una táctica de sabueso sabelotodo para encontrar a sus piezas. También comparte con Holmes cierto desdén o indiferencia hacia los que le rodean, que no están a la altura de su mente privilegiada. Ahí enlazaría con otro Hans: el maligno y viscoso Gruber de La jungla de cristal, que Alan Rickman hizo inolvidable.  Tan alemanes. Tan preocupados por su apariencia. Tan charlatanes. Lo malo es que Landa no tiene enemigos a su altura. El gran drama de esta bestia humana es que los malditos bastardos a los que se enfrenta son un hatajo de patanes incapaces de reconocer su superioridad. Una trágica decepción que le emparenta con la angustia vital de tantos tiranos que no comprenden por qué el resto del mundo no se rinde a su poder mesiánico. «Si uno tuviera que determinar qué atributos comparten los judíos con una bestia, éstos serían los de la rata. En qué mundo tan tremendamente hostil se ve obligada a vivir una rata. No obstante, no sólo sobrevive, sino que además se propaga en él. Y la razón es que nuestro pequeño enemigo tiene un instinto de supervivencia insuperable. Yo sí sé de qué tremendas hazañas son capaces los seres humanos cuando pierden la dignidad». Éste es un resumen del maquiavélico discurso con el que, en el arranque de la película, Hans Landa arrebata a su interlocutor una horrenda confesión. Con su lengua venenosa y su cerebro al servicio del mal (capaz de dinamitar el III Reich si se lo propone, en el fondo también desprecia a los Hitler de turno), Hans Landa es capaz de convencer a sus víctimas de que sabe más de lo que sabe.  De que ningún secreto le es ajeno. Y que incluso las Cenicientas que pierden zapatos en la escena del «delito» dejan un rastro indeleble. Hans Landa, qué malo tan bueno le ha salido al travieso Tarantino.  Anécdota. Sin Christoph Waltz no existiría Malditos bastardos (2009). La película, que cumple ya 10 años, es una de las pequeñas joyas que Quentin Tarantino orquestó y que un reparto envidiable ejecutó de forma espectacular.  Un dinámico Brad Pitt -casi al nivel de Érase una vez... en Hollywood (2019)-, una cautivadora Melanie Laurent cuya sed de venganza ya es historia del cine, y un icónico Christoph Waltz que, encarnando al coronel Hans Landa, es el alma de la película.  La primera escena, donde el despreciable coronel nazi se presenta como un «cazajudíos experto», es una clase maestra de interpretación, guion y dirección. La tensión generada en aquella pequeña casa de la campiña francesa es difícil de igualar. De hecho, Tarantino casi cancela la realización de la película cuando no encontraba un actor alemán adecuado para Hans Landa. Y entonces apareció Waltz. Un profesional casi desconocido en el momento, que supo cargar con uno de los personajes más complejos de la mitología de Tarantino. «Landa es el mejor personaje que he escrito y quizá el mejor que jamás escribiré», confesaba el director en entrevistas pasadas. No es casualidad que semejante actuación llevase a Waltz a ganar el óscar al mejor actor de reparto.  Tres años después, volvería a interpretar a un alemán, pero a uno muy diferente. En Django desencadenado (2012), Waltz vuelve a su romance tarantinesco y se transforma en el Doctor King Schultz, un cazarrecompensas del Salvaje Oeste con buen corazón, que supuso otro premio óscar para el actor austríaco.  Después de un período de sequía a nivel de galardones, parece que Waltz nos está preparando una serie de papeles muy jugosos para el futuro. Entre ellos están proyectos del calibre de No time to die, la nueva película de James Bond; Rifkin's Festival, la próxima cinta de Woody Allen; y un pequeño papel en The French Dispatch, el futuro filme de Wes Anderson. Sonrían, que tenemos «bastardo» para rato.

Christoph Waltz (Viena, 4 de octubre de 1956) es un actor germano-austríaco. Ganador del premio Óscar al mejor actor de reparto en dos ocasiones por sus interpretaciones en Inglourious Basterds (2009) y en Django Unchained (2012), ambas películas del director Quentin Tarantino. Entre otros galardones, ha sido acreedor de los Globo de Oro, BAFTA y el premio al mejor actor del Festival de Cannes. La primera película en la que participó fue Der Einstand en el año 1977, mientras que su primera película estrenada en los cines fue Fuego y espada en 1982.  No fue hasta 2009 cuando recibió las mejores críticas por el trabajo que desempeñó en la película Inglourious Basterds de Quentin Tarantino, adoptando el rol de Hans Landa, un Standartenführer apodado cazador de judíos durante la Segunda Guerra Mundial.  Recordando su personaje, Christoph Waltz dijo : "Landa es especialmente interesante para mí porque es un personaje absolutamente integral, hay muchos rasgos heterogéneos en él, pero todos están armoniosamente conectados. Esta unidad me asombró. Landa no es un aburrido personaje de mosaico posmoderno, sino una persona viva con un carácter brillante y habilidades mentales no estándar.  Durante el rodaje, estaba literalmente hipnotizado por la variedad de idiomas que tenía que hablar. Y no pensaba en los lenguajes como tales, sino en cómo se relacionan con la personalidad de mi personaje, cómo le influyen. ¿Por qué Landa usa tantos idiomas y por qué cambia repentinamente de uno a otro en ciertos momentos? Este es un fenómeno muy interesante. Refleja el aspecto performativo del lenguaje, cómo se puede utilizar para crear un mundo entero.  Una persona me dijo que para él Inglourious Basterds es en realidad una película sobre la diversidad lingüística. Esta imagen muestra de qué es capaz el lenguaje en general y el lenguaje cinematográfico en particular.  Para mí, Inglourious Basterds, en el que los eventos de la Segunda Guerra Mundial están claramente distorsionados, es una especie de respuesta a la reciente ola de películas pseudo-realistas sobre la guerra y los nazis, muchas de las cuales fueron filmadas en Alemania.  Para ser honesto, cuando leí el guión por primera vez, también me asaltaron las dudas. Parecía ridículo tomar una fotografía así. Lo confieso, incluso pensé:   "¿Están todos locos allí?"  Compartí estos pensamientos con mi agente, a lo que respondió:   “Sí, sí, te entiendo. Pero vuelve a leer el guión y no olvides que Tarantino lo está filmando ".  Fui y compré todas las películas de Quentin y las vi. Y solo después de eso me di cuenta de que me había perdido lo principal. Las películas de Quentin no son solo entretenimiento, son verdaderas obras de arte.  En ellos, el director desvela las posibilidades del lenguaje cinematográfico, utiliza diversas técnicas y demuestra que el cine es verdaderamente una de las artes más ricas y expresivas. Al darme cuenta de esto, volví a leer el guión y esta vez quedé encantado." En 2012 volvió a trabajar a las órdenes de Tarantino para la película Django Unchained, por la que ganó el Globo de Oro al mejor actor de reparto y su segundo Óscar en la misma categoría. El austriaco partía como uno de los favoritos debido a su doble triunfo en los Globos de Oro y en los Bafta. El intérprete agradeció el premio especialmente a Tarantino por atreverse con unos proyectos que otros no harían. Waltz, que le da a su personaje el sentido del humor marca de Tarantino, encarna en la película a un cazarrecompensas encargado de liberar al esclavo Django, interpretado por Jamie Foxx, y de ayudarle a reencontrarse con su esposa, cuya libertad depende de la voluntad del tirano Candie, interpretado por Leonardo DiCaprio, dueño de una de las plantaciones más grandes del Misisipi.

Los dedos de los alemanes también cuentan. Últimamente me pregunto si los alemanes y los españoles tenemos realmente algo en común  En serio, yo lo intento. Pero hasta en el tema que, a priori, parece más “banal”, encontramos una forma distinta de hacer las cosas: los dedos de los alemanes y los españoles, ¿son iguales? ¿Has probado a contar a partir de 13 en alemán?  Bueno, ahí ya encontramos la primera gran diferencia, puesto que los números son al revés. Es decir, en los números de dos cifras en Alemania se dice antes la unidad que la decena. En ambos países, Alemania y España, leemos de izquierda a derecha. Por lo que nunca me había preguntado porqué al ver el “25” los españoles decimos primero el “veinte” y luego el “cinco”. Pues ahora sí me lo pregunto, cuando sé que los alemanes dicen primero el “cinco” y luego el “veinte”. Entonces digo, vale, para encontrar alguna similitud entre españoles y alemanes voy a ir más atrás, a algo más básico. Vamos a empezar a contar:   “uno”, “dos”, “tres” y ahí me paro. Ahí seguro que somos iguales – “eins”, “zwei”, “drei” (obviando la diferencia del idioma). ¡Pues resulta que tampoco! El tema de aprender a contar lleva intrínseco la utilización de los dedos. Y resulta que los alemanes y los españoles utilizamos los dedos para contar de forma distinta. No me refiero en este caso cuando queremos contar hasta 10, puesto que los utilizamos todos. Me refiero a cuando alguien nos pregunta por ejemplo «cuánto queremos de algo» y la respuesta viene con un «quiero uno, dos o tres». Los españoles, para decir “1, 2 y 3” utilizamos los dedos así: Los alemanes, en cambio, utilizan los dedos así: De hecho, no es para nada un tema tan trivial como podría parecer. Hasta el mismísimo Quentin Tarantino lo explota (y nunca mejor dicho) en una de sus famosas películas con Daniel Brühl como protagonista: Inglorious Basterds – Malditos Bastardos. En la escena del bar, el capitán “no alemán”, que se hace pasar por alemán, es pillado precisamente por desconocer cómo cuentan los alemanes. Fíjate, en los primeros segundos de la escena cuando pide drei Gläser (tres copas o vasos), la cara de póker (y de pocos amigos) que se le queda al verdadero alemán, tras darse cuenta de que le están tomando el pelo haciéndose pasar por alemanes. Te dejo toda la escena para que veas cómo se llega a liar. Aviso que el final no es apto para aprensivos (aunque no haría falta avisar sabiendo que la película es de Tarantino): Bueno, y ya que estamos podríamos mencionar un último detalle más. Los españoles tenemos 20 dedos. Tranquilo, me refiero “entre manos y pies”. Pues bien, los alemanes sólo tienen 10 dedos. Tampoco ahí nos parecemos. En alemán, los dedos “de las mano” son los “Finger”, y los dedos “del pie” son los “Zehen”. Así, los alemanes tienen 10 Finger y 10 Zehen. Los dedos de los pies no tienen «nombre», pero los de la mano sí. Mira! Aquí sí somos iguales 😀 Aquí te dejo cómo se llama cada dedo de la mano en alemán: El dedo pulgar – Daumen. El dedo índice – Zeigefinger El dedo corazón – Mittelfinger El dedo anular – Ringfinger El dedo meñique – Kleiner Finger ¿Alguna experiencia «a lo Tarantino» que compartir?

BASTARDOS SIN GLORIA (2009, "Inglourious Basterds" - Quentin Tarantino) Escribe: Rogelio Llanos Q. Cuando éramos niños e íbamos al cine deseábamos intensamente que la película nos envolviera capturando nuestra atención y permitiendo que nos evadiéramos de nuestro entorno, de nuestra realidad. Queríamos ser engañados, y anhelábamos que la mentira fuera tan buena que resultara en una suerte de invitación a levantarnos de nuestra butaca para ingresar en ese mundo imaginario pleno de emociones e ilusiones. Muchos films del llamado cine clásico cumplieron a cabalidad su cometido, motivando que nos identificáramos con los sueños y aventuras del protagonista, cabalgando o navegando con él a lo largo de praderas violentas o mares procelosos, y compartiendo al final, jubilosos y emocionados, los abrazos y besos de la joven salvada o de la joven enamorada que espera en casa el retorno del héroe. Ya para entonces, el The End ponía punto final a la aventura ilusoria y nos devolvía -con el encendido de las luces- a nuestra aburrida rutina diaria. Cada función de cine sólo se vive una vez, pero durante esos instantes mágicos, en algunas ocasiones llegamos a tocar el cielo. Ese tiempo era lo que Manolo Marinero llamó de manera entrañable el tiempo lento de Henry Fonda. Durante esa experiencia en la que hacíamos nuestros el espacio y el tiempo de los personajes, en la que nos identificábamos con los ideales del héroe y odiábamos los planes y acciones de los malhechores, estábamos dispuestos a creernos al pie de la letra todo lo que ocurría en la pantalla. Han pasado los años, seguimos viendo con pasión las películas y a pesar de ser muy conscientes de los límites entre la realidad y la ficción, sin embargo ante la experiencia cinematográfica seguimos admirando ese poder fascinador del cine. Y ante cada película nuestro sentido crítico queda en total suspenso. Tal condición, sin embargo, es parte del espectáculo cinematográfico y lo aceptamos sin duda alguna. No vamos al cine, como muchos piensan, a buscar mensajes profundos o a resolver complicados enigmas para iniciados. No, no. Seguimos yendo al cine para vivir una mentira, una ficción, para divertirnos, en suma. Miramos atentamente las imágenes, nos dejamos llevar por los acontecimientos que ocurren en ese mundo de fantasía y si logramos involucrarnos en él, llegamos al convencimiento de que lo que estamos mirando es plenamente cierto, plenamente real. Eso sí, cada plano, cada escena, cada secuencia, debe contribuir certeramente a que salgamos persuadidos de que lo visto y vivido imaginariamente ha sido auténtico. Luego de que las luces se han encendido, la reflexión que hacemos, apoyada por una serie de referentes culturales, corresponde a un ámbito que intenta prolongar la experiencia visual mediante el recuerdo de las imágenes apreciadas, y en esa reelaboración descubrimos muchas veces nuevos significados o detalles valiosos que enriquecen, complementan o explican la puesta en escena del film, que a su vez responde al quehacer y al universo del creador de la ficción, o sea el director o cineasta. Esta labor reconfortante de decodificar un film es necesaria y enriquecedora, porque ese quehacer que se desenvuelve mayormente en los predios del entretenimiento o la diversión no tiene nada de ingenuo, aunque lo parezca. ¿Qué hizo para convencernos de la verdad de las mentiras que nos contó a lo largo de la proyección? ¿De qué materias están constituidos sus sueños? Y aquí tomamos un texto de Mario Vargas Llosa que define bien lo que significa hacer ficción o imaginar:  “imaginar otra vida y compartir ese sueño con otros no es nunca, en el fondo una diversión inocente. Porque ella atiza la imaginación y dispara los deseos de una manera tal que hace crecer la brecha entre lo que somos y lo que nos gustaría ser, entre lo que nos es dado y lo deseado y anhelado, que es siempre mucho más. De ese desajuste, de ese abismo entre la verdad de nuestras vidas vividas y aquella que somos capaces de fantasear y vivir de a mentiras, brota ese otro rasgo esencial de lo humano que es la inconformidad, la insatisfacción, la rebeldía, la temeridad de desacatar la vida tal como es y la voluntad de luchar por transformarla, para que se acerque a aquella que erigimos al compás de nuestras fantasías” (2). El cine como la literatura nos permite soñar. Y del sueño resultan los anhelos y los deseos. Las historias vividas, ¿por qué no cambiarlas? ¿Quién puede impedir que el novelista o el cineasta quieran recrear la propia Historia, al margen de la realidad? ¿Por qué no cambiar el final de una narración o de una película o de la Historia misma? ¿Acaso no recrearon los westerns con sus mentiras, la Historia de los Estados Unidos de Norteamérica? Quentin Tarantino miente siempre. Es un mentiroso de categoría. Y cuando vamos a ver sus películas sabemos que nos va a mentir. Es más, no oculta sus intenciones y subraya los elementos de la puesta en escena que acentúan la mentira: división de sus films en episodios, que rompen bruscamente la continuidad de la narración; globos garabateados y sobrepuestos sobre las imágenes para hacer pequeños apuntes e indicar que se trata de tal o cual personaje; grandes subtítulos acompañados de una fanfarria burlona o de una música inquietante; tonadas de otros filmes prestados para apuntes irónicos; uso perverso de la animación y cambios de color de la imagen como hizo en Kill Bill (2003); mezcla de tiempos como hizo en Tiempos Violentos (1994, Pulp Fiction); y la infaltable cinefilia a flor de piel que discurre a lo largo de sus películas. Pues bien, mucho de lo que hemos referido aparece en Bastardos sin Gloria. Todo ello debería despertarnos de la ilusión o hipnosis fílmica, y sin embargo, magia cinematográfica de por medio, salimos convencidos de la autenticidad de la experiencia. No sólo hemos sido engañados, sino que, además, hemos disfrutado del engaño. La materia de la obra de Tarantino es la ficción. Y él vive para ella. Su mundo está al interior de las imágenes. Ese mundo tiene que ser coherente, no importa que tan disparatado pueda ser lo que allí ocurre. Es un mundo con su propia lógica, aunque a veces, pareciera no existir. Existe la acción y la belleza y la fuerza de su ejecución. Existe la mirada y su condición reveladora, el gesto y su potencialidad expresiva, el humor y su capacidad corrosiva, las palabras y sus significados múltiples y ambiguos, el paisaje y la referencia constante al mundo de las imágenes. De todos esos recursos está hecho el subversivo universo cinematográfico de Quentin Tarantino, universo que jamás se define en el campo de lo políticamente correcto y en el que, si le da la gana, pues es capaz de no dejar títere con cabeza. Ya desde el inicio, en Bastardos…, Quentin Tarantino toca las puertas de nuestra cinefilia y nos anuncia lo que va a ser su película. Las notas melódicas de Las Hojas Verdes del Verano de Dimitri Tiomkin se dejan escuchar al aparecer los primeros títulos de la película. Para los memoriosos, les diremos que este tema musical lo compuso Tiomkin para El Álamo (1960), aquel viejo film que dirigió John Wayne y que estaba encaminado a exaltar la gesta heroica de los americanos y a justificar el arrebato de Texas a los mejicanos. La música, con sus aires nostálgicos y melancólicos, era un buen contraste para la dura epopeya –pasada de contrabando como rigurosamente histórica- de David Crockett y sus muchachos.  Tarantino también ensaya su versión ‘histórica’ de un momento decisivo en la segunda guerra mundial y lo que nos cuenta en Bastardos… es, entre otras historias, la acción ‘heroica’ de Aldo Raine (Brad Pitt) y su pandilla patibularia que no tienen mejor idea que practicar el terrorismo entre las hordas nazis apelando a esa práctica india que las películas del Oeste nos ilustró en tantas matinées de nuestra infancia: el ‘scalp’ o sangriento corte de la cabellera del enemigo vencido. El tono burlón y pícaro de Tarantino está, pues, presente desde el comienzo del film. cabaña El primer episodio -´Erase una vez…en la Francia ocupada por los Nazis’ es, sin el menor asumo de duda, una genialidad. Toda la puesta en escena es exquisita y los actores maravillosos. El plano inicial nos muestra al granjero francés La Padite (Denis Menochet) cortando el tronco de un árbol, hacia la derecha está su vieja cabaña, y de fondo tenemos una amplia campiña que semeja la verde pradera norteamericana. Una imagen westerniana - ¿la de Shane, el desconocido (1953, George Stevens), quizás?- que pronto se complementa con el ruido de motores de unos vehículos que se acercan. En la banda sonora, una música da la alerta, como en los spaghetti-westerns, en los que las tonadas o silbidos preludiaban la llegada de los jinetes. Tarantino disfruta plenamente con estos homenajes al cine de sus amores. foto La presentación formal del oficial alemán, la pequeña caminata hacia la casa, el saludo cortés a las hijas del granjero, el brindis con la leche ofrecida por una de las jóvenes, las buenas maneras del oficial, la desconfianza y parquedad de La Padite, la acuciosa selección de los papeles con la información sobre los fugitivos, el llenado de tinta del lapicero, el detalle de los apuntes del alemán, las preguntas que realiza en tono gentil (pero cuyo significado encierra amenazas), la comparación de los judíos con las ratas, que el alemán realiza con una lógica tan despreciable como implacable mientras disfruta jugando al gato y al ratón con su interlocutor, son momentos que la cámara de Tarantino registra con precisión única, ya con planos de conjunto, ya apelando al revelador plano contraplano. En contados minutos, Tarantino nos ha ofrecido el retrato completo de uno de sus protagonistas principales: su sonrisa, su amabilidad, su cultura sirven para avasallar y transmiten miedo y terror. Instalada la tensión, la cámara, en movimiento virtuoso, rodea a los personajes y se ubica entre ambos. Allí, en esa posición se detiene por unos segundos, y efectúa un travelling descendente para mostrar que en el subsuelo están escondidas las personas que Hans Landa (Christoph Waltz), el despiadado cazador de judíos, está buscando con el empeño de un perro de presa.  Sabemos, en ese instante, el duro desenlace que va a tener lugar. Tarantino, perverso y genial, juega con el punto climático de la secuencia, y lo posterga, dilatando la acción, al mismo tiempo que redondea el notable diseño del asesino. Landa es culto, políglota, inteligente, ilustrado, dotado de un gran sentido del humor, y burlón e irónico hasta la perversidad. ¡Cómo habrá disfrutado Tarantino dirigiendo al extraordinario Christoph Waltz, cuyo paso de la sonrisa cínica a la mirada gélida y escrutadora es uno de los grandes momentos de la película! Tras la descarga de la energía acumulada que se salda con el acribillamiento de los judíos escondidos en el sótano, el episodio se cierra con la huida de la joven judía, Shosanna. a quien el oficial alemán únicamente destina un disparo imaginario. Landa es lo suficientemente orgulloso como para salir y correr tras ella. Su accionar es esencialmente minimalista, y su personalidad es la del cazador que apela a la trampa y a la paciente espera. Un retrato formidable del mal. El segundo episodio lleva por nombre el título de la película: ‘Bastardos sin Gloria’. La escena inicial nos lleva por los predios de las películas de comandos, y más específicamente por la de Los Doce del Patíbulo (1967, The Dirty Dozen, Robert Aldrich). Brad Pitt, con la mandíbula prominente a lo Marlon Brando en El Padrino, es Aldo Raine, el agresivo y violento líder de una banda de desadaptados, salidos de prisión y cuya misión no tiene ribetes de heroicidad alguna como es característico de las películas del género–la toma de un estratégico puesto enemigo o el rescate de compatriotas apresados por los nazis. No, para Raines, el objetivo es aterrorizar a los Nazis, vía el asesinato y el ‘scalp’. Lo peculiar de este comando es que está compuesto por judíos. La caza del hombre no es ahora la del blanco contra el negro, ni la del nazi contra el judío. Es todo lo contrario. Es decir, estamos ante una situación opuesta a la ortodoxia del género bélico y atípica en el campo de las imágenes cinematográficas.  En tal situación, al decir de algunos espectadores de origen o ancestros judíos, Tarantino estaría faltando a la verdad histórica y olvidando el significado del holocausto, tema tan sensible para una raza que sufrió uno de los mayores genocidios que registra la historia. No es este el espacio para entrar en una polémica del tipo ‘los judíos fueron las víctimas y no los asesinos’. Creo que Tarantino tiene las cosas muy claras respecto a lo que significó el Holocausto, pero creemos también que el cineasta sabe muy bien que los Holocaustos actuales tienen como víctimas a otras razas y que los muros de la vergüenza y los hacinamientos humanos no han sido generados únicamente por las hordas nazis. Por otro lado, el ser humano tiene una entraña violenta, que no la define la raza ni la condición social.  ¿Judíos en pos de venganza?  Perfectamente factible, y las reacciones primitivas que tal pulsión desencadena son totalmente impredecibles. Lo que Tarantino ha pretendido es transgredir el género y hacer que los personajes tradicionalmente identificados como héroes sean rebajados a la quizás más baja condición humana: el sadismo, la carnicería como conducta habitual. Condición humana, pero primitiva, desencadenada por el medio y las circunstancias propias de la irracionalidad de un conflicto armado. El cine americano ha vertido toneladas de tinta roja –como solía llamarla Godard a la sangre que se muestra en las películas- en su afán de acentuar la verosimilitud de las escenas filmadas. Tarantino disfruta apelando a esos recursos con los que provoca al espectador. Alguien podría preguntarse, ante los ‘scalps’ mostrados, si de repente Tarantino se olvidó que estaba haciendo una película bélica y pensó que se encontraba en los predios del western. No, no ha habido confusión alguna. Para Tarantino los límites entre un género y otro a veces son inexistentes, como lo es el paso de la risa a la tensión o del drama a la comedia. Bastardos… es un film bélico, pero con una entraña westerniana, sin olvidar las incursiones en la llamada comedia de guerra.  Los films del Oeste están presentes a lo largo de la cinta, y con ellos uno de los íconos de Tarantino, el realizador Sergio Leone. El título del primer episodio, la intensa acumulación de energía en algunas escenas decisivas así como su violenta descarga final, aluden a un estilo y a una manera de ver el mundo que Leone evidenció en su filmografía, especialmente en sus obras maestras:  Lo Bueno, Lo Malo y Lo Feo (1966, Il Buono, il Brutto, il Cattivo), , Érase una Vez en el Oeste (1968, C’era una Volta il West ) y Érase una vez en América (1984, Once Upon A Time in America). Además, es interesante ver cómo Tarantino contrapone a sus protagonistas, subvirtiendo las conductas de cada uno de ellos. Si en el primer episodio tenemos un interrogatorio en el que el alemán, el tradicional ‘malo’ de la película, apela a las buenas formas para obtener la información necesaria para conseguir su cometido, en el segundo episodio, vemos al americano, el tradicional ‘bueno’ del género bélico apelando al sadismo y a la crueldad para obtener los datos que requiere su misión. El alemán –un nazi inconmovible- muere como un valiente y nuestro supuesto héroe –encarnado por la súper estrella del momento Brad Pitt- exhibe con desparpajo su patanería e instinto asesino. El film cierra toda posibilidad de identificación alguna con los personajes, todo está trastocado en el film de Tarantino. En el comando aliado no hay nada ejemplar: acribillan a balazos a sus víctimas, matan a sus prisioneros utilizando bates de béisbol y haciendo alarde de su demencial acción, rescatan de prisión a un psicópata que se relaja afilando su cuchillo y cuyo solaz es destripar nazis. Las imágenes con las que Tarantino ilustra el accionar de sus Bastardos son duras, pero a fuerza de ser tan explícitas, revelan el ánimo provocador de un director dispuesto a dar la pelea y evitar hacer concesión alguna al espectador. Tajante, reafirma una y otra vez que en este mundo, donde la crueldad se ejerce con humor y se mata con la sonrisa en los labios, no hay espacio alguno para el héroe. La imagen de Hitler es caricaturesca y a Tarantino le importa un comino si tiene un parecido físico o no con el referente real. Para él, la dimensión del personaje se reduce a la del ‘comic’. Una figura de folletón a la que hay que darle su merecido, y ya que la historia nunca fue categórica en establecer su muerte, pues el cine de Tarantino sí puede exhibir con pelos y señales, con saña, premeditación y alevosía que uno de los mayores asesinos de la historia cayó bajo las balas de unos personajes salidos del Ser o no Ser (1942) de Lubitsch. Están, pues, advertidos los criminales y genocidas que caminan impunemente en nuestra aldea global. Los tres episodios restantes ‘Noche Alemana en París’, ‘Operación Kino’ y La Venganza de la Cara Gigante’ revelan abiertamente el carácter cinéfilo del film.  Si en el primero todo había sido sutileza, y en el segundo la violencia se extremó hasta adquirir aires caricaturescos, en los episodios restantes, Tarantino optó por el desborde cinéfilo. Aquí encontramos a la joven judía Shosanna, cuatro años después de su providencial fuga de la casa del granjero La Padite, cambiando los letreros de la marquesina de una sala de cine de su propiedad. Ha concluido un ciclo de películas dedicado a la cinematografía alemana con homenaje a la famosa directora nazi del momento, Leni Rifensthal. En la marquesina, sin embargo, ella hace figurar también el nombre del director Georg W. Pabst, que la joven Shosanna mantiene allí, quizás como contraponiendo el cine social y antibelicista de este maestro del cine alemán a los filmes grandilocuentes y patrioteros de la Rifensthal. Si alguien exige que Tarantino tome posiciones, pues tendrá que interpretar, bajo las coordenadas cinéfilas, cada detalle de su cinta. En cierto momento ella le dice al joven sargento alemán que la pretende algo así como que los franceses suelen respetar a los directores de cine. Tarantino no puede con su genio y homenajea a Francia y a sus críticos y cineastas, haciendo además que la bella joven judía convierta su cine, que ha sido su último refugio, en un centro de resistencia contra la ocupación alemana y lugar de definición del gran conflicto bélico. Las escenas de Shosanna y el sargento nazi rebosan cinefilia. Cuando él la encuentra en el restaurante, en la banda sonora un acordeón desgrana las notas de El Dólar Agujereado (1965, Giorgio Ferroni). Sutil alusión a la venganza que ella llevará a cabo. El rechazo de ella, visceral y primitivo, está teñido de un inocultable odio al pensamiento e ideología alemanes. Pero esta oposición no se explicita a través de discursos sino a través de gestos y actitudes. Como por ejemplo preferir el amor de un hombre de color al de un ‘genuino’ representante de la raza aria. Hay ironía, también en el rechazo:  ella lo llama el Sargento York alemán, cuando se entera que entre sus compatriotas es considerado un héroe de guerra por haber liquidado con su fusil a más de doscientos soldados enemigos.  Entre líneas, aludiendo al film de Howard Hawks, ella le dice que los americanos han hecho con anterioridad tal alarde de heroicidad. Que el sargento por obra de Goebbels se convierta en actor de una película que recordará su hazaña y que dicho film, motivo para una gran celebración de la jerarquía nazi, se estrene en el cine de la joven judía, fueron los puntos desencadenantes que cambiaron el curso de la historia según Tarantino, transformando a las víctimas en victimarios. Shosanna se convierte, entonces, en el ángel vengador cuyo temple y decisión la hermana a la Uma Thurman de Kill Bill; Marcel, el amante de color que no por casualidad pasa delante del afiche de la película El Asesino Habita en el 21 de Georges Clouzot, es el ejecutor; y las viejas películas de nitrato, como los libros en Fahrenheit 451 (1966, Francois Truffaut), son el combustible letal que arde en una suerte de ritual vindicativo y purificador. Pero, previos al final apocalíptico, Bastardos sin Gloria nos depara otros dos grandes momentos cinematográficos: el interrogatorio de Shosanna por el oficial Landa y el encuentro de los espías aliados en la taberna alemana. Si en el primero, la acumulación de tensión desemboca en una abrupta resolución ambigua (él se aleja bruscamente y ella respira hondo y se alivia llorando por el miedo experimentado) que alimenta la idea del lobo relamiéndose ante su presa; el segundo, es una vez más, un homenaje al Sergio Leone de los duelos dilatados al extremo, y aquí sí la descarga de energía es tan violenta y visceral que no hay fuerza ni razón alguna que permita salir indemne a los protagonistas de semejante carnicería. La resolución final de Bastardos sin Gloria tiene lugar simultáneamente en la sala de proyección, donde se filtran e insinúan las violentas pulsiones de Duelo al Sol (1946, King Vidor), y en el écran donde el rostro congestionado de Shosanna, anunciando su venganza, alude al de Renée Falconetti en Juana de Arco (1928) en el momento en que se inmola en la hoguera en el film de Carl Theodor Dreyer. Para Quentin Tarantino, pues, la historia oficial no tiene mayor significado que el de servirle de base o referencia para transgredirla, burlarse de ella o subvertirla. En realidad, en cada film que el cineasta encara con tanto empeño, inventa su propio mundo, dotándolo de coherencia y sentido, aún cuando en su concepción el absurdo, el disparate o la contradicción misma sean su derrotero. Que una actriz de cine famosa alemana sea una espía de los aliados o que el alto mando británico encargue a un agudo crítico de cine la ejecución de una operación de sabotaje son hechos posibles en el universo de Tarantino. Que sólo el cine puede salvar a la humanidad podría ser una conclusión de esta película, eminentemente cinéfila. Que la historia la escriben los vencedores, como alguna vez se dijo, es una verdad relativa que el cine podría rebatir. Que el mundo de la ficción es ancho y no es ajeno, sí es una verdad definitiva que el séptimo arte reivindica a plenitud. Tarantino sabe que vive en una sociedad violenta e injusta, sabe, además, que en el plano de lo real las grandes utopías pueden conducir a grandes grupos humanos a desastres mayores, por tanto, propone repensar la realidad, transformándola, repartiendo nuevos roles, y recomponiendo, con indudable humor, el mundo a su antojo. Si tomamos y aceptamos su opción o la dejamos, eso ya corresponde a cada quién. Por mi parte, yo la tomo.

Libreto.

          EXT - DAIRY FARM- DAY
          The modest dairy farm in the countryside of Nancy, France (what the
          French call cow country).
          We Read a SUBTITLE in the sky above the farm house;

          CHAPTER ONE

          "ONCE UPON A TIME IN...

          NAZI OCCUPIED FRANCE"

          This SUBTITLE disappears, and is replaced by another one;

          "1941
          One year into the German
          occupation of France".
          The farm consists of a house, small barn, and twelve cows spread
          about.
          The owner of the property, a bull of a man FRENCH FARMER, brings a axe
          up and down on A tree stump blemishing his property. However simply by
          sight, you'd never know if he's been beating at this stump for the last
          year, or just started today.

          JULIE
          One of his three pretty teenage daughters, is hanging up laundry on
          the clothes line. As she hangs up a white bed sheet, she hears a
          noise, moving the sheet aside she see's;

          JULIE'S POV:
          A Nazi town car convertible, with two little nazi flags attached to
          the hood, a NAZI SOLDIER behind the wheel, a NAZI OFFICER alone in the
          back seat, following TWO OTHER NAZI SOLDIERS on motorcycles, coming up
          over the hill on the country road leading to their farm.

          JULIE
          Pappa.
          The French Farmer sinks his axe in the stump, looks over his shoulder,
          and see's the Germans approaching.
          The FARMERS WIFE, CHARLOTTE comes to the doorway of their home,
          followed by her TWO OTHER TEENAGE DAUGHTERS, and see the Germans
          approaching.
          The Farmer yells to his family in FRENCH, SUBTITLED IN ENGLISH;

          FARMER

          Go back inside and shut the door.    

          FARMER
          (to Julie)
          Julie, get me some water from the pump
          to wash up with, then get inside with
          your mother.
          The young lady runs to the water pump by the house. She picks up a
          basin, and begins pumping, after a few pumps, water comes out
          splashing into the basin.
          The French Farmer sits down on the stump he was previously chopping
          away at, pulls a handkerchief from his pocket, wipes sweat from off
          his face, and waits for the Nazi convoy to arrive. After living for
          a year with the sword of Damocles suspended over his head, this may
          very well be the end.
          Julie finishes filling the water basin, and places it on the window
          sill.

          JULIE
          Ready Pappa.

          FARMER
          Thank you darling, now go inside and
          take care of your mother. Don't run.
          Julie walks inside the farm house and closes the door behind her.
          As her father stands up from his stump, and moves over to the window
          sill with the water basin...
          .The SOUND of the ENGINES of the two motorcycles and car get LOUDER.
          The Farmer SPLASHES water from the basin on his face and down his
          front. He takes a towel off a nail, and wipes the excess water from
          his face and chest, as he watches the two motorcycles, the one
          automobile, and the four representatives of the National Socialist
          Party come to a halt on his property.
          We don't move into them, but keep observing them from a distance, like
          the Farmer.
          The TWO NAZI MOTORCYCLIST are off their bikes, and standing at
          attention next to them.
          The NAZI DRIVER has walked around the automobile, and opened the door
          for his superior.
          The NAZI OFFICER says to The Driver in UNSUBTITLED GERMAN;

          NAZI OFFICER
          This is the property of Perrier LaPadite?

     
          NAZI DRIVER
          Yes heer Colonel.
          The Nazi officer climbs out of the back the vehicle, carrying
          in his left hand
           n d

          OFFICER
          Herman, until I summon you, I am to be
          left alone.

          NAZI DRIVER
          As you wish Heer Col.
          The S.S. COLONEL yells to The Farmer in FRENCH, SUBTITLED IN ENGLISH;

          NAZI OFFICER
          Is this the property of Perrier LaPadite?

          FARMER
          I am Perrier LaPadite.
          The S.S. Colonel crosses the distance between them with long strides,
          and says in French with a smile on his face;

          NAZI OFFICER
          It is a pleasure to meet you Monsieur
          LaPadite, I am Colonel Hans Landa of
          the S.S.
          COLONEL.HANS LANDA offers the French Farmer PERRIER LAPADITE his hand.
          The Frenchman takes the German hand in his and shakes it.

          PERRIER
          How may I help you?

          COL LANDA
          I was hoping you could invite me inside
          your home and we may have a discussion.

          INT - LAPADITE FARM HOUSE - DAY
          The door to the farm house swings open, andtheaFarmer gesturestfor
          the S.S. COL to enter. Removing his grey S.S. cap,
          inside the Frenchman's home.
          Col Landa is immediately greeted with the sight of the Farmers wife,
          and three pretty daughters standing together in the kitchen, smiling
          in his direction.
          The Farmer enters behind him, closing the door.

          

          PERRIER
          Colonel Landa, this is my family.
          The S.S. COL clicks his heels together, and takes the hand of the
          French Farmers Wife...

          COL LANDA
          Col Hans Landa of the S.S. madame,
          at your service.
          He kisses her hand, then continues without letting go of his hostess
          hand...

          COL LANDA
          please excuse my rude intrusion on your
          routine.

          FARMERS WIFE
          Don't be ridiculous, heer Col.
          While still holding the French Woman's hand, and looking into her
          eyes, The S.S. Colonel says;

          COL LANDA
          Monsieur LaPadite, the rumors I have
          heard in the village about your family
          are all true. Your wife is a beautiful
          woman.
          His eyes leave the mother, and move to the three daughters.

          COL.LANDA

          (CON' T )
          And each of your daughters is more lovely
          then the last.

          PERRIER
          Merci. Please have a seat.
          The Farmer offers The S.S. Colonel a seat at the families wooden
          dinner table. The Nazi officer excepts the French Farmers offer,
          and lowers himself into the chair. Placing his grey S.S. cap on
          the table, and keeping his black attache case on the floor by his
          feet.
          The Farmer (perfect host) turns to his Wife and says;

           PERRIER
          Charlotte, would you be so good as to get
          The Colonel some wine?


          COL LANDA
          Merci be coupe Monsieur LaPadite, but no
          wine. This being a dairy farm one would
          be safe in assuming you have milk?

          CHARLOTTE
          Oui.

          COL LANDA
          Then milk is what I prefer.

          CHARLOTTE
          Very Well.
          The mother of three, takes a craft of milk out of the ice box,
          and pours a tall glass of the fresh white liquid for The Colonel.
          The S.S. Colonel takes a long drink from the glass, then puts it down
          LOUDLY on the wooden table.

          COL LANDA
          Monsieur, to both your family, and your
          cows, I say; Bravo.

          PERRIER
          Merci.

          COL LANDA
          Please, join me at your
          table.

          PERRIER
          Very well.
          The French Farmer sit's at his wooden dinner table across from
          The Nazi.
          The Women remain standing.
          Col Landa leans forward, and says to the Farmer in a low tone of

          CONFIDENTIALLY;

          COL LANDA
          Monsieur LaPadite, what we have to
          discuss,' would be better discussed in
          private. You'll notice, I left my men
          outdoors- if it wouldn't offend them,
          could you ask your lovely ladies to step
          outside.

          PERRIER
          You are right.

          
          PERRIER
          (to his women)
          Charlotte, would you take the girls
          outside. The Colonel and I need to have
          a few words.
          The Farmers wife follows her husbands orders, and gathers her
          daughter's taking them outside, closing the door behind them.
          The Two Men are alone, at the farmers dinner table, in the Farmers
          humble home.

          COL LANDA
          Monsieur LaPadite, I regret to inform
          you I've exhausted the extent of my
          French. To continue to speak it so
          inadequately, would only serve to
          embarrass me. However, I've been lead
          to believe you speak English quite well?

          PERRIER
          Oui.

          COL LANDA
          Well, it just so happens, I do as well.
          This being your house, I ask your
          permission to switch to English, for the
          remainder of the conversation?

          PERRIER
          By all means.
          They now speak ENGLISH;

          COL LANDA
          Monsieur LaPadite, while I'm very
          familiar with you, and your family.
          I have no way of knowing if you are
          familiar with who I am. Are you aware
          of my existence?
          The Farmer answers;

          PERRIER
          Yes.

          COL LANDA
          This is good. Are you aware of the job
          I've been ordered to carry out in France?

        

          PERRIER
          Yes.
          The Colonel drinks more milk.

          COL LANDA
          Please tell me what you've heard?

          PERRIER
          I've heard, the fuhrer has put you in
          charge of rounding up the Jews left in
          France who are ether hiding, or passing
          for Gentile.
          The S.S.Colonel smiles.

          COL LANDA
          The Fuhrer couldn't of said it better
          himself.

          PERRIER
          But the meaning of your visit, pleasant
          though it is, is mysterious to me.
          The Germans looked through my house nine
          months ago for hiding Jews, and found
          nothing.

          COL LANDA
          I'm aware of that, I read the report on
          this area. But like any enterprise,
          when under new management, there's
          always a slight duplication of efforts.
          Most of it being a complete waste of time,
          but needs to be done nevertheless.
          I just have A few questions Monsieur
          LaPadite, if you can assist me with
          answers, my department can close the
          file on your family.
          Taking his black leather attache case, and placing it on the table, he
          takes out a folder from inside. He also extracts a expensive black
          fountain pen from his uniform front pocket. Opening the folder, and
          referring to it;

          COL LANDA
          Now before the occupation there were
          four Jewish families in this area, all
          dairy farmers like yourself.
          The Loveitts, The Doleracs, The Rollins,
          and The Dreyfus's, is that correct?

   

          PERRIER
          To my knowledge those were the Jewish
          families among the dairy farmers.
          - Heer Colonel, would it disturb you if
          I smoked my pipe?
          Looking up from his papers.

          COL LANDA
          Please, Monsieur LaPadite, it is your
          house, make yourself comfortable.
          The Farmer gets up from the table, goes to his shelf over the
          fireplace, and removes from it a WOODEN BOX that contains all the
          fixins to his pipe. He sits back down at the table with his Nazi
          guest.
          As The Farmer loads the bowel of his pipe with tobacco, sets a match
          to it, and begins slowly puffing, making it red hot, the S.S. Colonel
          studies the papers in front of him.

          COL LANDA
          Now according to these papers, all
          the Jewish families in this area have
          been accounted for - except, The Dreyfusis.
          Somewhere in the last year it would appear
          they have vanished.
          Which leads me to the conclusion that
          they've ether made good their escape,
          or someone is very successfully hiding
          them.
          (looking up from
          his papers, across
          the table at The
          FARMER)

          What have you heard about The Dreyfusis
          Monsieur LaPadite?

          PERRIER
          Only rumors -

          COL LANDA
          - I love rumors! Facts can be so
          misleading, where rumors, true or false
          are often reveling. So Monsieur LaPadite,
          what rumors have you heard regarding
          The Dreyfusis?
          The Farmerlooks at Landa.

          COL LANDA
          Speak freely Monsieur LaPadite, I want
          to hear what the rumors are, not who told
          them to you.
          The Farmer puffs thoughtfully on his pipe.

          PERRIER
          Again, this is just a rumor - but we
          heard the Dreyfusis had made there way
          into Spain.

          COL LANDA
          So the rumors you've heard have been of
          escape?

          PERRIER
          Yes.

          COL LANDA
          Were the LaPadites and the Dreyfusis
          friendly?
          As the Farmer answers this question, the CAMERA LOWERS behind his
          chair, to the floor, past the floor, to a small area underneath the
          floorboards revealing;

          FIVE HUMAN BEINGS
          lying vertically underneath the farmers floorboards. These human
          beings are The DREYFUSIS, who have lived lying down underneath the
          dairy farmers house for the past year. But one couldn't call what The
          Dreyfusis have done for the last year living. This family has done the
          only thing they could, hidden from a occupying army that wishes to
          exterminate them.

          PERRIER
          We were families in the same community,
          in the same bussiness. I wouldn't say
          we were friends, but members of the same
          community, we had common interest.
          The S.S. Colonel takes in this answer, seems to except it, then moves
          to the next question.

          COL LANDA
          Having never met the Dreyfusis, would
          you confirm for me the exact members of
          the household and their names?

          PERRIER
          There were five of them.
          The father, Jacob... .wife, Miram...
          her brother, Bob ...

          COL LANDA
          - How old is Bob?

          PERRIER
          Thirty - thirty one?

          COL LANDA
          Continue.

          PERRIER
          And the children... Amos... and Shoshanna.

          COL LANDA
          Ages of the children?

          PERRIER
          Amos - six - I believe. And Shosanna,
          was fifteen or sixteen, I'm not really
          sure.

          CUT TO

          UXT - DAIRY FARM - DAY
          The Mother and her three Daughters finish taking the laundry off the
          clothes line.
          They can't hear anything going on inside.
          e three Nazi Soldiers watch the three Daughters.

          SACK TO LANDA AND PERRIER

          COL LANDA
          Well I guess that should do it.
          Be begins gathering up his papers, and putting them back into his
           ttache case.
          the Farmer, cool as a cucumber, puffs on his pipe.

          COL LANDA
          However, before I go, could I have another
          glass of your delicious milk?

          

          PERRIER
          But of course.
          Farmer stands up, goes over to the ice box, and takes out the
          aft of milk. As he walks over and fills the Nazi Colonel's glass,
          German Officer talks.

          COL LANDA
          Monsieur LaPadite, are you aware of the
          nickname the people of France have given
          me?

          PERRIER
          I have no interest in such things.

          COL LANDA
          But you are aware of what they call me?

          PERRIER
          I'm aware.

          COL LANDA
          What are you aware of?

          PERRIER
          That they call you, "The Jew Hunter".

          COL LANDA
          Precisely! Now I understand your
          trepidation in repeating it.
          Before he was assassinated, Heydrich
          apparently hated the moniker the good
          people of Prague bestowed on him.
          Actually why he would hate the name,
          "The Hangman", is baffling to me
          It would appear he did everything in
          his power to earn it. But I, on the
          other hand, love my unofficial title,
          precisely because I've earned it.
          As "The Jew Hunter" enjoys his fresh milk, he continues to theorize
          with the french farmer.

          COL LANDA
          The feature that makes me such a effective
          hunter of the Jews, is, as opposed to most
          German soldiers, I can think like a jew.
          where they can only think like a German,
          or more precisely, a German soldier.
          Now if one were to determine what attribute
          the German people share with a beast, it
          would be the cunning and predatory instinct
          of a hawk.

     

          COL LANDA

          (CON'T)
          Negro's - gorilla's - brain - lips -
          smell - physical strength - penis size.
          But, if one were to determine what attributes
          the jews share with a beast, it would be
          that of the rat.
          Now the Fuhrer and Gobbles propaganda
          have said pretty much the same thing.
          Where our conclusions differ, is I don't
          consider the comparison a insult.
          Consider for a moment, the world a rat
          lives in. It's a hostile world indeed.
          If a rat were to scamper through your
          front door right now, would you greet it
          with hostility?

          PERRIER
          I suppose I would.

          COL LANDA

          create this animosity you feel toward
          them?

          PERRIER
          Rat's spread disease, they bite people -

          COL LANDA

          try and handle a live one, rats don't
          make it a practise of biting human beings.
          Rats were the cause of the bubonic plague,
          but that was some time ago. In all your
          born days, has a rat ever caused you to
          be sick a day in your life? I purpose to
          you, any disease a rat could spread,
          a squirrel could equally carry.
          Yet I assume you don't share the same
          animosity with squirrels that you do with
          rats, do you?

          PERRIER
          No.

          COL LANDA
          Yet, they are both rodent's, are they
          not? And except for the fact that one
          has a big bushy tail, while the other
          has a long repugnt tail of rodent skin,
          they even rather look alike, don't they?


          PERRIER

          beer Colonel.

          COL LANDA

          be, it makes not one bit of difference
          to how you feel. If a rat were to scamper
          through your door, this very minute,
          would you offer it a saucer of your
          delicious milk?

          PERRIER
          Probably not.

          COL LANDA
          I didn't think so. You don't like them.
          You don't really know why you don't like
          them. All you know is, you find them
          repulsive.
          (let's the

          METAPHOR
          sink in)
          What a tremendously hostile world a rat
          must endure. Yet, not only does he
          survive, he thrives. And the reason for
          this, is because our little foe has a
          instinct for survival and presavation
          second to none. And that Monsieur, is
          what a jew shares with a rat.
          Consequently, a German soldier, conducts
          a search of a house suspected of hiding
          jews. Where does the hawk look? He looks
          in the barn, he looks in the attic,
          he looks in the cellar - he looks
          everywhere, he would hide. But there are
          many places it would never occur to a
          hawk to hide. However the reason the
          Fuhrer brought me off my Alps in Austria,
          and placed me in French cow country today,
          is because it does occur to me. Because
          I'm aware what tremendous feats human
          beings are capable of once they abandon
          dignity.
          (Changing tone)
          May I smoke my pipe as well?
          Th e Farmer's cool facade is little by little eroding.

          PERRIER
          Please, Cononel, make yourself at home.

     
          The Jew Hunter, removes both a pipe and a bag of tobacco fixings.
          The pipe, strangely enough, is a Calabash, made from a "S" shaped goard
          kith a yellow skin, made famous by Sherlock Holmes.
          A the Nazi Colonel, busies himself with his smoking life, he
          ontinues to hold court at the Frenchmans table.

          COL LANDA
          The other mistake the German soldier
          make is their severe handling of the
          citizens who give shelter and aid to
          the Jews. These citizens are not enemies
          of the state. They are simply confused
          people, trying to make some sense out of
          the madness war creates.
          These citizens do not need punishing.
          They simply need to be reminded of their
          duty in war time.
          Let's use you as a example Monsieur
          LaPadite. In this war, you have found
          yourself in the middle of a conflict
          that has nothing to do with yourself,
          your lovely ladies, or your cows - yet,
          here you are.
          So Monsieur LaPadite, let me purpose
          a question. In this time of war, what is
          your number one duty? Is it to fight the
          Germans in the name of France to your
          last breath? Or, is it to harass the
          occupying army to the best of your
          ability? Or, is it to protect the poor
          unfortunate victims of warfare who can
          not protect themselfs?
          Or, is your number one duty in this time
          of bloodshed, to protect those very
          beautiful women who constitute your
          family?
          The Colonel lets the last statement stand.

          COL LANDA
          That was a question Monsieur LaPadite.
          In this time of war, What do you consider
          your number one duty?

          PERRIER
          To protect my family.

          COL LANDA
          Now, my job dictates, that I must have
          my men enter your home, and conduct a
          thorough search, before I can officially
          cross your families name off my list.

      

          COL LANDA

          (CON'T)
          And if there are any irregularities to be
          found, rest assured, they will be.
          That is unless, you have something to tell
          me that will make the conducting of a
          search unnecessary.

          (PAUSE)
          I might add also, that any information
          that makes the preforming of My duty
          easier, will not be met with punishment.
          Actually quite the contrary, it will be
          met with reward.
          And that reward will be, your family
          will cease to be harassed in anyway,
          by the German military during the rest
          of our occupation of your country.
          The Farmer, pipe in mouth, stares across the table at his German
          opponent.

          COL LANDA
          are you not?

          PERRIER
          Yes.

          COL LANDA
          Your sheltering them underneath your
          floorboards aren't you?

          PERRIER
          Yes.

          COL LANDA
          Point out to me the area's where their
          hiding.
          The Farmer points out the area's on the floor with the Dreyfusis are
          underneath.

          COL LANDA
          Since I haven't heard any disturbance,
          I assume that while their listening,
          they don't speak english?

          PERRIER
          Yes .

          COL LANDA

          and I want you to follow my masquerade
          - is that clear?

         

          PERRIER

          Colonel Landa stands up from the table, and switching to FRENCH says

          SUBTITLED IN ENGLISH;

          COL LANDA
          Monsieur LaPadite, I thank you for milk,
          and your hospitably. I do believe our
          business here is done.
          The Nazi Officer opens the front door, and silently motions for his
          son to approach the house.

          COL LANDA
          Mademoiselle LaPadite, I thank you for
          your time, we shant be bothering your
          family any longer.
          Yet the LaPadite women watch the Nazi soldiers, machine guns at ready,
          approach the house.
          The Soldiers enter the doorway, Col Landa, silently points out area of
          the floor the Jews are hiding under.

          COL LANDA

          I bid you adieu.
          otions to the Soldiers with his index finger.
          wy TEAR UP the wood floor with MACHINE GUN FIRE.
          The little farm house is filled with SMOKE, DUST, SPLINTERS, SCREAMS,
          0ULLET CASINGS, and even alittle BLOOD.
          With a hand motion from the Colonel, the Soldiers cut off their
          gunfire. The Colonel keeps his finger in the air to indicate silence.

          UNDERNEATH THE FLOORBOARDS
          The entire Dreyfus family lay dead. Except for sixteen year old
          $HOSANNA, who miraculously escaped being struck by the nazi's bullets.
          With her dead family surrounding her, the young girl goes for freedom
          (represented by wire mesh vent).

          L LANDA
          ears movement underneath the floor, looks down and see's a SHAPE
          Wing forward between the planks in the floor.

          COL LANDA
          It's the girl. Nobody moves

      
          KICKED open, the girl SPRINGS out.

          COL LANDA
          ae he crosses the floor, he see's the young girl RUNNING towards the
          cover of the woods. He unlatches the window, and opens it. Shosanna
          to perfectly FRAMED in the window sill.

          1SANNA
          RUNNING towards woods. Farm house and Col in the window in B.G.

          LTHY BAREFEET
          LAPPING against wet grass.
          Qt! SHOSANNMA' S FACE
          same as a animal being chased by a predator FLIGHT - PANIC - FEAR

          SNOSANNA'S POV
          the safety of tree's, getting closer.

          COL LANDA
          Pramed by the window, takes his LUGAR, and straight arm aims at the
          fleeing Jew, cocking back the hammer with his thumb.

          CU COL LANDA
          SLOW ZOOM into his eyes as he aims.

          PROFILE CU SHOSANNA
          Sod dash for life.

          L LANDA
          changes his mind. He yells to the rat fleeing the trap, heading for the
          safety of the wood pile, in FRENCH SUBTITLED IN ENGLISH;

          COL LANDA
          Au revoir, Shosanna! Till we meet again!

           HOSANNA
          Maces it to the woods, and is gone.
          T h e S.S. Colonel closes the window.

   

          EXT - NAZI TOWN CAR (MOVING)- DAY
          diihe ac seat of the convertible, that'sa stsn tColonel Hans Lan
          speeding away from the French farm house.
          Landa speaks to his Driver in GERMAN, SUBTITLED into ENGLISH;

          COL LANDA
          Herman, I sense` a question on your lips?
          Out with it?

          DRIVER
          Why did yoy allow a enemy of the state
          to escape?

          COL LANDA
          Oh, I don't think the state is in too
          much danger, do you?

          DRIVER
          I suppose not.

          COL LANDA
          I'm glad you see it my way. Besides,
          not putting a bullet in the back of a
          fifteen year old girl, and allowing
          her to escape, our not nessessarlly
          the same thing. She's a young girl, no food,
          no shelter, no shoes, who's just witnessed
          the massacre of her entire family.
          She may not survive the night. And after
          word spreads about what happened today,
          it's highly unlikely she will find any
          willing farmers to extend her aid.
          If I had to guess her fate, I'd say she'll
          probably be turned in by some neighbour.
          Or, she'll be spotted by some German
          soldier. Or, we'll find her body in the
          woods, dead from starvation or exposure.
          Or, perhaps-she'll survive. She will
          elude capture. She will escape to America.
          She will move to New York city.
          Where she will be elected, President of
          the United States.
          The S.S. Colonel chuckles at his little funny.

          TITTLE CARD:"INGLORIOUS BASTERDS"
     

          FADE UP

          CHAPTER TITLE APPEARS:

   

          CHAPTER TWO

          "INGLORIOUS BASTERDS"

          FADE UP

          EXT - SOMEWHERE IN ENGLAND - DAY
          A bunch of SOLDIERS are lined up at attention.
          LIEUTENANT ALDO.RAINE, a hillbilly from the mountains of
          Tennessee, walks down the line. He recruits the men, the
          Germans will later call; "The Basterds". Lt.Aldo has one
          defining physical characteristic, a ROPE BURN around his
          neck. As if once upon a time,. he survived a LYNCHING.
          The scar will never once be mentioned.

          LT.ALDO
          My name is Lt.Aldo Raine, and I'm
          puttin together a special team.
          And I need me eight soldiers.
          Eight - Jewish - American - soldiers.
          Now y'all might of heard rumors
          about the armada happening soon.
          Well, we'll be leavin a little
          earlier. We're gonna be dropped
          into France, dressed as civilians.
          And once we're in enemy territory, as
          a bushwackin, guerrilla army, we're
          gonna be doin one thing, and thing
          only, Killin Nazi's.
          The Members of the National Socialist
          Party, have conquered Europe through
          murder, torture, intimidation, and
          terror. And that's exactly what we're
          gonna do to them. Now I don't know
          bout y'all? But I sure as hell, didnt
          come down from the goddamn Smoky
          mountains, cross five thousand miles
          of water, fight my way through half
          Sicily, and then jump out of a fuckin
          air-o-plane, to teach the Nazi's
          lessons in humanity. Nazi ain't got
          no humanity. There the foot soldiers
          of a Jew hatin, mass murderin manic,
          and they need to be destroyed.
          That's why any and every son-of-a--bitch
          we find wearin a Nazi uniform, there
          gonna die.

    

          LT.ALDO

          (CON'T)
          We will be cruel to the Germans,
          and through our cruelty, they will
          know who we are. They will find the
          evidence of our cruelty, in the
          disembowed, dismembered, and
          disfigured bodies of their brothers
          we leave behind us. And the German
          will not be able to help themselves
          from imagining the cruelty their
          brothers endured at our hands, and
          our boot heels, and the edge of our
          knives.
          And the Germans, will be sickened by us.
          And the Germans, will talk about us.
          And the Germans, will fear us.
          And when the Germans close their eyes
          at night, and their sub conscious
          tortures them for the evil they've done,
          it will be with thoughts of us,
          that it tortures them with.
          He stops pacing, and looks at everybody.

          LT. ALDO
          Sound good?
          They all say;

          ALL
          Yes, sir!

          LT.ALDO
          That's what I like to hear. But I
          got a word of warning to all would-be
          warriors. When you join my command,
          you take on debit. A debit you owe
          me, personally. Every man under my
          command, owes me, one hundred nazi scalps.
          And I want my scalps.
          And all y'all will git me, one hundred
          Nazi scalps, taken from the heads of
          one hundred dead Nazi's...
          .or you will die trying.

          CUT TO

          EXT - MOUNTAIN TOP CHALET- DAY
          A huge Chalet on a misty mountain top in Barvia.

          


          A SUBTITLE APPEARS:

          "BARVIA

          BURSTICH GARDEN

          (HITLERS PRIVATE LAIR)"

          INT - BURSTICH GARDEN - DAY
          In a huge room, ADOLPH HITLER, pounds on a big table with
          his fist, as he rants at TWO GERMAN GENERALS.
          They speak GERMAN SUBTITLED into ENGLISH;

          HITLER
          How much more of these jew swine
          must I endure? They butcher my men
          like they were fish bait! This pack
          of filthy degenerates, are doing what
          the Russian army didn't, and Patton's
          army couldn't. Turning soldiers of
          The Third Reich, into superstitious
          old women!

          GERMAN GENERAL
          Just the cowards among them mine
          Fuhrer.
          Hitler pounds furiously on the desk with his fist.

          HITLER
          No, no, no, no, no, no! I have heard
          the rumors myself! Solders of The Third
          Reich, who have brought the world to
          there knee`s, now pecking and clucking
          like chickens. Do you know the latest
          rumor they've conjured up, in their fear
          induced delirium? The one that beats
          my boys with a bat. The one they call
          "The Bear Jew"...is a Golem.
          A avenging jew angel, conjured up by
          a vengeful rabbi, to smite the Aryans!

          GENERAL
          Mine Fuhrer, this is just soldiers
          gossip, no one really believes The
          Bear Jew is a golem.

          HITLER
          Why not? They seem to be able to elude
          capture like a aberration.
          They seem to be able to appear and
          disappear at will.

 
          HITLER

          (CON'T)
          You want to prove their flesh and
          blood? Then BRING THEM TO ME!
          I will hang them naked, by their
          heels, from the eiffel tower!
          And then throw their bodies in
          the sewers, for the rats of Paris
          to feast!
          The Fuhrer sits down at the table to compose himself, and
          wipe his greasy black hair out of his face.

          HITLER

          (DISGUSTED)
          The Bear Jew.
          He hits the button on the intercom on his desk.

          HITLER

          KLIEST1
          KLIEST VOICE comes out of the intercom;

          KLIEST'S VOICE(OS)
          Year mine Fuhrer.

          HITLER
          I have a order I want relayed to all
          German soldiers stationed in France.
          The Jew degenerate known as The Bear
          Jew, hence forth, is never to be
          referred to as The Bear Jew again.
          We will cease to aid the Americans
          any longer in there attempt to
          undermine the German soldier psyche.
          Did you get that Kliest?

          KLIEST'S VOICE(OS)
          Yes mine Fubrer. Do you still wish
          to see Private Butz?

          HITLER
          Who and what is a private Butz?

          KELIST'S VOICE(OS)
          He's the soldier you wanted to see
          personally. His squad was ambushed
          by Lt.Raines Jews. He was it's only
          survivor.

          HITLER
          Indeed I do want to see him, thank
          you for reminding me. Send him in.

       

          EXT - FRENCH WOODS -- DAY

          CU FACE OF DEAD GERMAN SOLDIER
          His head lies on the ground horizontal. A HAND reaches into
          FRAME, KNOCKS aside the dead German patriots helmet, and
          grabs a handful of the cadavers blonde hair. A LARGE KNIFE
          ENTERS FRAME, and begins SLICING ALONG THE HAIRLINE.
          This process is called SCALPING.
          After SLICING is complete, the SCALP easily peels off like a
          banana.

          GERMAN PRISONERS PVT.BUTZ AND SGT.RACHTMAN
          on their knees, hands behind there heads.
          Private Butz NARRATES the scene in GERMAN SUBTITLED into

          ENGLISH;

          PVT.BUTZ(VO)
          Werner and I were the only ones left
          alive after the ambush. While one man
          guarded us, the rest removed the hair.
          All The Basterds wore German scalps
          tied to their belts.

          CU SCALPS
          hanging from belts.

          PVT.BUTZ(VO)
          They not only took valuables...

          WE SEE QUICK CUTS OF
          Rings, Weapons, Iron Cross, and somebody digging out a Gold
          Tooth with a knife, being removed from Dead Germans.

          PVT.BUTZ(VO)
          ..They also took their identification
          papers.

          CU IDENTIFICATION PAPERS
          taken from the inside pocket of a dead German uniform.

          BASTERD PFC.UTIVICH
          flips through the I.D. papers till he gets to the page that
          contains the German soldiers, name, statistics, and photo.

          PFC.UTIVICH
          Sigfried Muller.

   

          PVT.BUTZ(VO)
          .and tore out the identification page.
          Utivich RIPS the page out, and sticks it in his pocket.
          Tossing the torn book on the dead, scalpless body.

          PVT.BUTZ(VO)
          ...They then removed their boots...

          CU GERMAN COMBAT BOOTS
          laces untied.. .boot pulled off...

          SOCKS
          removed, reveling dead bare feet...

          BASTERDS
          tossing the boots off a hill.

          PVT.BUTZ(VO)
          Throwing them away from the bodies...

          DEAD GERMANS
          scalps removed from their heads, pink bare feet...

          PVT.BUTZ(VO)
          The Basterds, took their lives, their
          hair, their valuables, their identity,
          and finally their dignity in death.
          True that. The sight of the dead soldiers with bare feet
          does rob the tableaux of a certain dignity, that is normally
          felt in battlefield shots.

          BACK TO HITLER

          HITLER
          The dogsl
          He fights his frustration, then...

          HITLER
          Continue.

          BACK TO THE BASTERDS
          Aldo screams to The Basterd who's guarding the two German
          prisoners.

          LT.ALDO
          Hey Hirschberg, send that kraut
          sarge over.

          BASTERD PFC.HIRSCHBERG
          KICKS Sgt.Rachtman in the back.

    

          PFC.HIRSCHBERG
          You! Go!
          Sgt.Rachtman is a little slow to respond. So Hirschberg
          grabs him by the hair, YANKS him to his feet, and KICKS him
          in the ass, sending him on his way.
          Most of The Bastreds sit in a circle, Indian style, with
          Aldo in the middle.
          As Sgt.Rachtman walks towards this circle of Basterds,
          A OFF SCREEN LITERARY NARRATOR (not Pvt.Butz) speaks over
          the SOUNDTRACK in ENGLISH;

          NARRATOR(VO)
          Sgt.Werner Rachtman has seen many
          interrogations since Germany decided
          it should rule Europe. But this is
          the first time he's ever been on the
          wrong end of the exchange.
          It's always been his belief, only a
          weakling, in mind, body, and spirt
          complies with the enemy under threat
          of consequence.
          As Werner watched men cry like women,
          pleadingly offer their knowledge, in
          exchange for their worthless lives,
          he made a vow to himself.
          If his role is to die in this conflict.
          When they put him under the earth, his
          dignity would be buried with him.
          For in the other world, the gods only
          respect the ones they test first.
          Well Sgt, this is your test.
          And the gods are watching.
          The captured German Sgt, enters the circle of Basterds,
          stands straight before the sitting southern Lieutenant, and
          salutes his captor.

          SGT.RACHTMAN

          (ENGLISH)
          Sgt.Werner Rachtman.
          Aldo returns the salute, looking up at him.

          LT.ALDO
          Lt.Aldo Raine, pleased to meet cha.
          You know what sit down means Werner?

          SGT.RACHTMAN
          Yes.

          LT.ALDO
          Then sit down.

    .
          The German Sgt does.

          LT.ALDO
          Hows your English Werner? Cause if
          need be, we gotta a couple fellas
          can translate.
          Aldo points at one of The Basterds in the circle,

          CPL.WILHELM WICKI.

          LT.ALDO
          Wicki there, a Austrian Jew, got the
          fuck outta Saltzberg, while the
          gettin was good. Became American,
          got drafted, and came back to give
          y'all what for.
          Then Aldo points to another Basterd. A big scary looking
          Basterd, in a German Sgt's uniform, named, SGT.HUGO STIGLITZ

          LT.ALDO
          And another one over there, you
          might be familiar with, Sgt.Hugo
          Stiglitz. Heard of 'em.
          The two German Sgt's look at each other.

          SGT.RACHTMAN
          Everybody in the German army's heard
          of Hugo Stiglitz.
          The Basterds laugh, a couple pat Hugo on the back.
          The NARRATOR comes back on the SOUNDTRACK.

          NARRATOR(VO)
          The reason for Hugo Stiglitz's
          celebrity among German soldiers
          is simple.
          WE SEE A PHOTO OF HUGO on the front page of the Nazi version
          of Stars and Stripes (the military newspaper).

          NARRATOR(VO)
          As a German enlisted man, he killed
          thirteen Gestapo officers, mostly
          Majors.

          WE SEE THE MILITARY PHOTOS OF ALL THIRTEEN GESTAPO OFFICERS.

      

          NARRATOR(VO)
          Instead of putting him up against a
          wall, the High Command decided to
          send him back to Berlin, to be made
          a example of.
          Hugo in chains, being put in a lone troop truck, part of a
          prison convoy, enroute to Berlin.

          NARRATOR(VO)
          Needless to say, once The Basterds
          heard about him, he never got there.

          EXT- FRENCH COUNTRYSIDE - DAY
          The Basterds AMBUSH the prison convoy, killing everybody.
          They walk to the back of the troop truck, inside Hugo in
          chains, stares back at them.

          LT.ALDO
          Sgt.Hugo Stiglitz?
          Hugo nods.

          LT. ALDO
          I'm Lt.Aldo Raine, and these are
          The Basterds. Ever heard of us?
          Hugo nods his head, yes.

          LT.ALDO
          We just wanna say, we're a big fan
          of your work. When it comes to killin
          Nazi's, I think you show great talent,
          and I pride myself on havin a eye for
          that kind of talent. But your status
          as a Nazi killer, is still amateur.
          We all came here to see, if you wanna go pro?

          BACK TO THEBASTERD CIRCLE.

          LT.ALDO
          Now Werner, I'm gonna assume you know
          who we are?

          SGT.RACHTMAN
          Aldo the Apache.
          The circle of Basterds giggle.

 

          LT.ALDO
          Well Werner, if you heard of us, you
          probably heard, we ain't in the
          prisoner takin business. We in the
          killin Nazi business. And cousin,
          business is boomin.
          The Basterds laugh.

          LT. ALDO
          Now that leaves two ways we can play
          this out. Either kill ya, or let ya
          go. Now weather or not you gonna
          leave this circle alive, depends
          entirely on you.
          Aldo takes out a map of the area, and lays it out in front
          of his prisoner.

          LT.ALDO
          Up the road a piece, there's a
          orchard. 'sides you, we know there's
          another kraut patrol fuckin around
          here somewhere. Now if that patrol
          were to have any crackshots, that
          orchard, would be a goddamn snipers
          delight. Now if you ever wanna eat
          a sauerkraut sandwich again, you
          gotta show me on this map, where
          they are, you gotta tell me how many
          they are, and you gotta tell me,
          what kinda artillery they carrying
          with 'em?

          SGT.RACHTMAN
          You can't expect me to divulge
          information that would put German
          lives in danger?

          LT.ALDO
          well, Werner that's where your wrong.
          Because that's exactly what I expect.
          I need to know about Germans hidin
          in trees? And you need to tell me?
          And you need to tell me, right now?
          Now take your finger, and point out
          on this map, where this partys bein
          held, how manys comin, and what they
          brought to play with?
          Werner site, head held high, back straight, chin up, every
          inch the German hero facing death.

    

          SGT.WERNER
          F I respectfully refuse, sir.
          Aldo jerks his thumb behind him.

          LT.ALDO
          You see that ole boy battin rocks?
          WE RACK FOCUS to a one of The Basterds not in the circle.
          He's wearing a wife beater, and power hitting stones
          with a baseball bat.
          Werners eyes go to the ballplayer.

          LT.ALDO
          That's Sgt.Donny Donowitz. But you
          might know him better by his nickname,
          The Bear Jew. Now if you heard of
          Aldo the Apache, you gotta heard about
          The Bear Jew?

          SGT.RACHTMAN
          I heard.

          LT.ALDO
          What did you hear?

          SGT.RACHTMAN
          He beats German soldiers with a club.

          LT.ALDO
          He bashes their brains in with a
          baseball bat, what he does.

          SGT.DONOWITZ
          back to us, still haven't seen his face. He Babe Ruths a
          rock soaring into the atmosphere.

          LT. ALDO
          Now Werner, I'm gonna ask you one
          last-goddamn-time, and if you still,
          "respectfully refuse", I'm callin The
          Bear Jew over here, and he's gonna take
          that big bat of his, and he's gonna
          beat your ass to death with it.
          Now take your wennersitnitzel lickin
          finger, and point out on this map
          what I want to know.

          SGT.RACHTMAN
          Fuck you and your jew dogs.

           Instead of getting mad, The Basterds burst out LAUGHING.
          I k
          Aldo says to Werner, with a giggle in his voice;

          LT.ALDO
          Actually Werner, we're all tickled
          ya said that. Frankly, watchin Donny
          beat Nazi's,to death, is the closest
          we ever get to goin to the movies.

          (YELLING)

          DONNY!

          SGT.DONOWITZ
          he turns to CAMERA, and yells;

          SGT.DONOWITZ
          Yeah?

          LT.ALDO
          Got a German here wants to die for
          country. Oblige him.

          SGT.DONNY DONOWITZ
          Bat over his shoulder, smiles.

          CUT TO

          INT - BARBER SHOP(BOSTIN) - DAY
          Donny, cutting heads, in his pop's barber shop, in Bostin.

          DONNY
          .ya got the goddamn fuckin Germans,
          declaring open season on Jews in
          Europe, and I'm suppose to fly to the
          fuckin Philippines, and fight a bunch
          of fuckin Japs - not me pal.
          If we just go in this against the Japs,
          the whole U.S.of fuckin A can go take a
          running jump at the moon.

          HEAD
          You know they got a word for what your
          sayin Donny, it's called treason.

          DONNY
          Hey, stick your treason up your poop
          hole. If I'm gonna kill my fellow man
          in the name of liberty, that fellow
          man, will be German.



          INT - SPORTING GOODS STORE- DAY
          MR.GOOROWITZ'S sporting goods shop in Donny's Jewish Bostin
          neighbourhood. Donny walks in.

          MR.GOOROWITZ
          Hello Donny, how are you?

          DONNY
          Ah, just dandy, Mr.Goorowitz.

          MR.GOOROWITZ
          Your mother, your father - everything
          good there?

          DONNY
          There just fine. I'm shippin off next
          week.
          The store proprietor, extends his hand to the young man.

          MR.GOOROWITZ
          Good for you son. Kill one of those
          Nazi basterds for me, will ya?

          DONNY
          That's the idea, Mr.Goorowitz.

          MR.GOOROWITZ
          What can I do you for, Donny?

          DONNY
          I need a baseball bat.
          The store owner leads him to a basket with eight bats init.
          Donny starts going through them without saying anything.

          MR.GOOROWITZ
          You gettin your little brother a
          present before you ship out?
          Donny, concentrating on the bats, not looking up;

          DONNY
          No.
          Donny's "no", silences the gabby Goorowitz. He seems to
          settle on one, feeling it's weight in his hands.

          DONNY
          Can I try this one on for size, outside?


          Extending his arm;

          MR.GOOROWITZ
          Be my guest.
          The phone rings.

          MR.GOOROWITZ
          I'll get that, you go right ahead.
          The proprietor answers the phone, and gets into a
          conversation with his OFF SCREEN Mother.
          Donny walks outside, WE STAY IN STORE, but can see him
          clearly through the stores big picture window.
          However, Mr.Goorowitz instinctively, turns his back to Donny
          to speak with his mother.
          Donny starts swinging the bat. It's pretty obvious he's
          pantomiming beating somebody to death with it. Then the
          he starts yelling;

          DONNY
          Take that ya Nazi basterd! You like fuckin
          with the Jews? Wanna Fuck with the Jews?
          The American jews are gonna FUCK with
          you... ..!
          Mr.Goorowitz, see's none of this, as he speaks to his
          mother. He hangs up the phone, just as Donny walks back into
          the store. Store owner turns to store customer.

          DONNY
          Is this the heaviest ya got?

          CUT TO

          INT - HALLWAY APARTMENT BUILDING - DAY
          Donny, dressed nice, in a apartment building in his Jewish
          Bastin neighbourhood. He knocks on a door.
          A VERY OLD JEWISH WOMAN opens the door, only a little,
          peering out at the young man.

          OLD WOMAN
          How can I help you?

          DONNY
          Mrs.Himmelstein?

          MRS.HIMMELSTEIN
          State your business young man.

          DONNY
          Mrs.Himmelstein, I'm Donny Donowitz,
          my father Sy Donowitz, owns the barber
          shop on Greeny Ave, "Sy's Barber Shop".

          MRS.HIMMELSTEIN
          I've seen it. Do you live in the
          neighbourhood?

          DONNY
          All my life.

          MRS.HIMMELSTEIN
          Again, state your business?

          DONNY
          May I have a word with you?

          MRS.HIMMELSTEIN
          What about?

          DONNY
          Our people in Europe.
          She thinks for a beat, then holds the door open for the
          young man.

          MRS.HIMMELSTEIN
          Come in. Would you like some tea?

          INT - MRS.HIMMELSTEIN'S APARTMENT - DAY
          Donny sits on a overstuffed sofa, holding a tea cup and
          saucer in his hand. Mrs.Himmelstein sits on a overstuffed
          chair, holding her tea, looking across at her visitor.

          DONNY
          (Sipping tea)
          Very good.

          MRS.HIMMELSTEIN
          If you like tea.
          Donny chuckles at her little joke. The old woman remains
          stone. She wasn't joking. He places his saucer on the coffee
          table and begins;

          DONNY
          Mrs.Himmelstein, do you have any love
          ones over in Europe who your concerned
          for?


          MRS.HIMMELSTEIN
          What compels you young man, to ask a
          stranger such a personal question?

          DONNY
          Because I'm going to Europe. And I'm
          gonna make it right.

          MRS.HIMMELSTEIN
          And just how do intend to do that, Joshua?

          DONNY

          MRS.HIMMELSTEIN
          And what exactly do you intend to do
          with that toy?

          DONNY
          I'm gonna beat every Nazi I find to
          death with it.

          MRS.HIMMELSTEIN
          I thought we were having tea together?

          MRS.HIMMELSTEIN
          And in this pursuit, how is it that I
          can be of service?

          DONNY
          I'm going through the neighbourhood.
          If you have any love ones in Europe,
          who's safety you fear for, I'd like
          you to write their name on my bat.

          BACK TO BASTERDS
          Donny takes a long walk to Werner...
          As WE CUT BACK and FORTH BETWEEN DONNY WALKING and WERNER
          WAITING, WE ALSO CUT BACK and FORTE BETWEEN DONNY and

          MRS.HIMMELSTEIN...

          MRS.HIMMELSTEIN
          You must be a real BASTERD, Donny?


          DONNY
          You bet your sweet ass I am.

          MRS.HIMMELSTEIN
          Good. A Basterds work is never done.
          Specially in Germany.
          Donny steps up to the plate, looking down at the Nazi;

          DONNY
          Gimmie your papers.
          Werner hands Donny up his papers.
          Donny RIPS the identity page out, and sticks it in his
          pocket.

          MRS.HIMMELSTEIN
          Hand me your sword Gideon. I do believe
          I will join you on this journey.

          INSERT
          she signs the BAT, "MADELEINE"

          BACK TO BASTERDS
          Donny BEATS Werner TO DEATH WITH THE BAT, to the cheers of
          The Basterds.

          PVT.BUTZ
          watches. Hirschberg says to him;

          PFC.HIRSCHBERG
          About now, I'd be shittin my pants, if
          I was you.
          Aldo points a finger at Butzsr and crooks it toward him.

          PFC.HIRSCHBERG
          That means you, cup cake.
          A crying, visibly shaken, Butz site down in front of Aldo.

          LT.ALDO
          You wanna live?

          PVT.BUTZ
          Yes, sir.

          LT.ALDO
          Point out on this map, the German
          position.
          His arm shoots out like a rocket, and points out the
          positions.

          PVT.BUTZ
          This area here.

          LT.ALDO
          How many?

          PVT.BUTZ
          Maybe twelve.

          LT.ALDO
          What kinda of artillery?

          PVT.BUTZ
          They have a machine gunn dug in here
          pointing north.

          HITLER
          How did you survived this ordel?
          WE SEE Pvt.Butz in The Fuhrer's room for the first time.
          He wears a Nazi cap, which is unusual in the presence of The
          Fuhrer, but he seems okay with it.

          PRVT.BUTZ
          They let me go.

          FROM HERE ON WE GO BACK AND FORTH BETWEEN ALDO AND HITLER.

          LT.ALDO
          Now when you report what happened here,
          you can't tell 'em, you told us, what you
          told us. They'll shoot ya. But there gonna
          wanna know, why you so special, we let you
          live? So tell 'em, we let ya live, so you
          could spread the word through the ranks,
          what's gonna happen to every Nazi we find.

          HITLER
          You are not to tell anybody anything!
          Not one word of detail! Your outfit
          was ambushed, and you got a away.
          Not one word more.

          PVT.BUTZ
          Yes mine Fuhrer.

          HITLER
          Did they mark you like they did the
          other survivors?



          PVT.BUTZ
          Yes mine Fuhrer.

          HITLER
          Remove your hat and show me.

          LT.ALDO
          Now say we let ya go, and say you
          survive the'war? When you get back
          home, what'eha gonna do?

          PVT.BUTZ
          I will hug my mother like I've never
          hugged her before.

          LT.ALDO
          Well, ain't that's a real nice boy. Are you
          going to take off your uniform?

          PVT.BUTZ
          Not only shall I remove it, but I intend
          to burn it!
          The young German is telling Aldo, what he thinks, Aldo wants
          to hear. But the last answer didn't go down as well as he
          thought it would, evident by the frown on Aldo's face.

          LT. ALDO
          Yeah, that's what we thought. We don't
          like that. You see, we like our Nazi's
          in uniforms. That way, you can spot 'em,
          just like that.
          (Snaps his fingers)
          But you take off that uniform, ain't
          nobody gonna know you was a Nazi.
          And that don't sit well with us.
          Aldo removes a LARGE KNIFE from a sheath on his belt.

          LT.ALDO
          So I'm gonna give ya a little somethin,
          you can't take off.

          BACK TO HITLER
          Pvt.Butz removes his combat helmet, hair hangs in his face,
          his moves it aside, and WE SEE a SWASTIKA has been HAND

          CARVED INTO HIS FOREHEAD.

          BACK TO BASTERDS

          BUTZ'S POV:
          on ground, looking up at them. Aldo has just carved the
          swastika, and he's holding the bloody knife. All The
          Basterds crowd around to admire his handy work.

    

          SGT.DONOWITZ
          You know Lieutenant, your getting pretty
          good at that.

          LT. ALDO
          You know how you get to Carnegie Hall,
          don't 'ch? Practice.

          FADE TO BLACK

          OVER BLACK

          CHAPTER TITLE APPEARS:

          CHAPTER THREE

          "GERMAN NIGHT IN PARIS"
          NOTE: This whole Chapter will be filmed in French New Wave
          Black and White.

          INT - CINEMA AUDITORIUM - NIGHT
          We're in the auditorium of a cinema in Paris. However the
          CAMERA is pointed in the direction of the audience, not the
          screen. We start CLOSE on the projector beam, emanating from
          the little glass window in the back of the theatre
          The CAMERA continues to DOLLY back, making the Shot Wider and
          Wider, bringing in more and more the German occupied citizens
          of Paris, who stare at the OFF SCREEN silver screen in the dark
          We can hear the OFF SCREEN SOUNDTRACK of a Goebbels produced
          German omm paw paw musical movie being projected.
          The Shot continues to pull further and further back, and the
          German dialogue continues to fill the auditorium...

          TILL...
          .The DOLLY SHOT LANDS on a CLOSE UP of Shosanna,. watching the
          movie.

          A SUBTITLE APPEARS:

          "1941

          PARIS

          TWO WEEKS AFTER THE MASSACRE

          OF SHOSANNA'S FAMILY"
          We hear the sound of the German musicals climax.
          The lights go up in the auditorium.
          Shosanna, dressed in a NURSES UNIFORM she swiped from
          somewhere, remains seated, as the rest of the PATRONS, gather
          their coats, and file out.

          EXT - LITTLE CINEMA (PARIS)- NIGHT
          Patrons exit under the cinema marquee, as someone from inside
          SHUTS OFF the marquees lights.
          The MARQUEE READS in French:
          "GERMAN NIGHT BRIDGET VON HAMMERSMARK in MADCAP IN MEXICO".

          EXT - PROJECTION BOOTH (LITTLE CINEMA)
          A French Black Man, who we will learn later is named MARCEL,
          is the cinema's projectionist. We see him for a moment, taking
          the film reels off the projector, and placing them on rewinds.

          INT - AUDITORIUM

          CU SHOSANNA
          still sitting in her seat. Except for her, the auditorium is
          empty.
          The owner of the Cinema, a attractive looking French woman,
          who we will later know as MADAME MIMIEUX, appears in
          one of the cinema's opera box balconies.
          Looking down from her perch at the young girl, sitting in
          the empty cinema.
          The DIALOGUE will be spoken in FRENCH, and SUBTITLED into

          ENGLISH.

          MADAME MIMIEUX
          So young woman, since it's beyond obvious
          we're closed for the evening. I must assume
          you want something. What can I do for you?

          SHOSANNA
          May I sleep here tonight?

          MADAME MIMIEUX
          So I gather your not a nurse?

          SHOSANNA
          No.

          MADAME MIMIEUX
          But your a bright little thing, that's
          clever disguise. Where is your family?

          SHOSANNA
          Murdered.



          MADAME MIMIEUX
          So your a war orphan?

          SHOSANNA
          We were from Nancy. The Bosch found us

          MADAME MIMIEUX
          Is this a sad story?

          SHOSANNA
          Oui.

          MADAME MIMIEUX
          Sad stories bore me. These days everyone
          in Paris has one. I haven't bore you
          with mine, don't bore me with yours.

          SHOSANNA
          You can run the machines?

          MADAME MIMIEUX
          What machines?
          Using her hands to pantomime the rotating film reels on a
          projector, she says;

          SHOSANNA
          The machines that show the film?

          MADAME MIMIEUX
          The projectors? Yes, I own a cinema,
          of course I can operate them.

          SHOSANNA
          I know, I saw you.

          FLASH ON:

          CU SHOSANNA
          eyes creeping up the stairway in the projection booth,
          watching...

          MADAME MIMIEUX
          expertly working the projectors...

          BACK TO SHOSANNA

          SHOSANNA
          Teach me. Teach me to run the machines,
          that show the film. It's only you and
          the negro. I know you could use some help.

   

          MADAME MIMIEUX
          I know at least six people who've been
          put up against a wall, and machine
          gunned for sheltering enemies of the
          state. I have no intention of being
          unlucky number seven. How long have
          you been in Paris?

          SHOSANNA
          A week, and a few days.

          MADAME MIMIEUX
          How have you survived the curfew
          without capture?

          SHOSANNA
          I sleep on rooftops.

          MADAME MIMIEUX
          Again, I'm forced to admit, clever
          girl. How is it?

          SHOSANNA
          Cold.

          MADAME MIMIEUX

          (LAUGHS)
          I can imagine.

          SHOSANNA
          Respectfully, no you can't.

          MADAME MIMIEUX
          Fair enough.

          MADAME MIMIEUX
          So you can't operate a 35mm film projector,
          you want me teach you, in order to work
          here, in order to use my cinema, as a hole
          to hide in, is that correct?

          SHOSANNA
          Oui.

          MADAME MIMIEUX
          Whats your name?

          SHOSANNA
          Shosanna.

         
          MADAME MIMIEUX
          I'm Madame Mimieux. You may call
          me Madame. This is a cinema. Not a
          home for wayward war orphans.
          Having said that, what you say is true.
          If you were truly exceptional, I could
          find use for you. So Shosanna, are you
          truly exceptional?

          SHOSANNA
          Oui Madame.

          MADAME MIMIEUX
          I will be the judge of that.

          DISSOLVE TO

          TITLE CARD:
          Which shows a lovely PENCIL SKETCH of the CITY OF PARIS,
          complete with Eiffel Tower.

          ABOVE IT READS:

          "1944

          PARIS"

          THEN...
          The CAMERA PULLS BACK, and we see we're not looking at a TITLE
          CARD at all, but a CALENDER stuck on the wall of the Little
          Cinema's Projection Booth. Before we leave it, WE SEE the
          Month is JUNE.
          ..The CAMERA finds, the THREE YEARS OLDER SHOSANNA, working
          as the PROJECTIONIST. It would appear, that Shosanna passed
          Madame Mimieux's exceptional test.
          A lyrical Morriconie-like tune PLAYS on the SOUNDTRACK, this
          will be "Shosanna's Theme".
          A Little Bell, begins RINGING, on one of the projectors,
          alerting Shosanna it's time for a REEL CHANGE.
          Shosanna stands at the projector, watching the old German film
          she's projecting, waiting for the1st REEL CHANGE MARK...

          SILVER SCREEN
          of the little cinema. On Screen LENI REFENSHTAL lies
          horizontal as a ice sickle drips on her head in the old
          German film, "The White Hell Of Piza Palu",
          The 1st REEL CHANGE MARK POPS ON in the upper right
          hand corner of the FRAME...(That tells the projectionist
          to get ready).

          As the FILM REEL on the lst PROJECTOR rolls out, Shosanna
          stands ready, waiting by the 2nd PROJECTOR...

          WHEN...

          SILVER SCREEN
          the 2nd REEL CHANGE MARK POPS ON in the same place(That's the
          one).

          SHOSANNA
          THROWS the lever on the 2nd PROJECTOR, switching the film from
          projector 1# to projector 2#, executing a perfect REEL CHANGE.
          As Shosanna's Theme plays on the Soundtrack, we watch viva
          MONTAGE, her go through her daily chores. Carry heavy film cans
          up the stairs, empty the rat traps, ect,ect...

          EXT - CINEMA - NIGHT
          The MARQUEE READS in French:
          "GERMAN NIGHT LENI REFENSHTAL in PABST WHITE HELL OF PIZA PALU"
          Shosanna emerges from the cinema carrying two buckets of
          LETTERS (for the marquee), and a tall ladder. Her chore here,
          obviously, is to change the show on the marquee.
          The LITERARY NARRATOR comes on the Soundtrack in ENGLISH;

          NARRATOR(VO)
          To operate a cinema in Paris during
          the occupation, one had two choices.
          Ether you could show new German propaganda
          films, produced under the watchful
          eye of Joseph Goebbels. Or... .you
          could have a German night in your
          weekly schedule, and show allowed
          German classic films.
          Their German night was Thursday.
          Shosanna, by herself, perched up high on the ladder, changing
          the letters on the marquee.
          A YOUNG GERMAN SOLDIER(about the same age as Shosanna), walks
          out of the cinema. He sees the ladder with the young French
          girl on top, and walks over.
          They speak FRENCH, SUBTITLED into ENGLISH;

          GERMAN SOLDIER
          What starts tomorrow?
          Shosanna looks down, seeing the young German Solder smiling up
          at her from below.

          SHOSANNA
          A Max Linder festival.

          GERMAN SOLDIER
          Ummmm, I always preferred Linder to
          Chaplin. Except Linder never made a
          film as good as "The Rid". The chase
          climax of "The Kid", superb.
          Shosanna continues working, not adding to the conversation.

          GERMAN SOLDIER
          I suppose now you could use a "M"
          a "A" and a "X"?

          SHOSANNA
          No need, I can manage.

          GERMAN SOLDIER
          Don't be ridiculous, it's my pleasure.
          He hands the French damsel the letters spelling MAX.

          SHOSANNA
          Merci.

          GERMAN SOLDIER
          I adore your cinema very much.

          SHOSANNA
          Merci.
          She busies herself with the marquee letters...

          GERMAN SOLDIER

          SHOSANNA

          GERMAN SOLDIER

          SHOSANNA

          GERMAN SOLDIER
          How does a young girl, such as yourself,
          own a cinema?
          Do to his uniform, and Shosanna's situation, all his efforts
          at trying to make small talk, strikes the young Jewess in
          hiding as a Gestapo interrogation.

 

          SHOSANNA
          My aunt left it to me.

          GERMAN SOLDIER
          Lucky girl.
          Shosanna makes no reply back.

          GERMAN SOLDIER
          Merci for hoisting a German night.

          SHOSANNA
          I don't have a choice, but your welcome.

          GERMAN SOLDIER
          Do you chose the German films yourself?

          SHOSANNA
          Oui.

          GERMAN SOLDIER
          Then my merci stands. I love the
          Refensthal mountain films, especially,
          "Pizu Palu". It's nice to see a French
          girl who's a admirer of Refensthal.

          SHOSANNA
          "Admire", would not be the adjective
          I would use to describe my feelings
          towards Fraulein Refensthal.

          GERMAN SOLDIER
          But you do admire the director. Pabst,
          don't you? That's why you included
          his name on the marquee.
          She climbs down from the ladder and faces the German
          Private.

          SHOSANNA
          I'm French. We respect directors
          in our country.

          GERMAN SOLDIER
          Apparently even Germans.

          SHOSANNA
          Even Germans. Merci for assistance,
          Private. Adieu.
          She turns to go back inside.

          GERMAN SOLDIER
          Your not finished?

          SHOSANNA
          I'll finish in the morning.
          She opens the door to go inside.

          GERMAN SOLDIER
          May I ask your name?

          SHOSANNA
          You wish to see my papers?
          She hands him her excellently forged papers.
          That's obviously not what he meant, but he takes them anyway
          to read her name.

          GERMAN SOLDIER
          Emmanuelle Mimieux. That's a very
          pretty name.

          SHOSANNA
          Merci. Are you finished with my papers?
          He hands them back.

          GERMAN SOLDIER
          Mademoiselle. My name is Fredrick Zoller.
          She gives no response.

          GERMAN SOLDIER
          It's been a pleasure chatting with a
          fellow cinema lover. Sweet dreams,
          Mademoiselle.
          He gives her a little salute, and walks into the black of a
          curfew imposed night.
          She looks after him. She didn't show it, but he kinda got to
          her. After all, for any true cinema lover, it's hard to hate
          anybody who, CINEMA MON AMOUR.

          EXT - ROOFTOP CINEMA - NIGHT
          Shosanna stands on the roof of her cinema, late at night,
          lighting up a cigarette. As she takes her first big drag,
          she remembers a voice.

          FLASH ON
          MADAME MIMIEUX, the younger Shosanna, and the black
          projectionist Marcel, in the projection booth. Shosanna
          lights up a cigarette, and Madame Mimieux SLAPS her face
          HARD, knocking the cigarette out of her mouth. Marcel
          quickly STAMPS it out on the floor.

          MADAME MIMIEUX
          if I ever see you light up a cigarette
          in my cinema again, I'll turn you into
          the Nazi's, do you understand?
          Shosanna is shocked by this statement.

          SHOSANNA
          Oui, Madame.

          MADAME MIMIEUX
          And for bringing a open flame in my
          cinema, you deserve far worse then
          a Nazi jewish boxcar. With your thick
          head, what do you think the highest
          priority of a cinema manager is?
          Keeping this fucking place from burning
          down to the ground, that's what!
          In my collection, I have over 350,
          35mm, nitrate film prints, which are
          not only immensely flammable, but
          highly unstable. And should they
          catch fire, they burn three times
          faster then paper. If that happens..
          .POOF...all gone, cinema no more,
          every body burned alive. If I ever
          see you with a open flame in my cinema
          again, I won't turn you into the Nazi's
          I'll kill you myself. And the fucking
          Germans will give me a curfew pass.
          Do you understand me?

          SHOSANNA
          Out, Madame.

          MADAME MIMIEUX
          Do you believe me?

          SHOSANNA
          Out, Madame.

          MADAME MIMIEUX
          You damn well better.

          BACK TO ROOF
          Shosanna exhales cigarette smoke.
          Marcel comes onto the roof.

          MARCEL
          Are you well?
  

          SHOSANNA
          Even on the roof I can't smoke a
          cigarette without hearing Madames
          voice yelling at me. That's why I
          do it. To hear Madames voice again.

          MARCEL
          We both miss her.

          SHOSANNA
          I know. I'm fine, darling. I'll be
          to bed soon.
          Marcel goes back inside, Shosanna smokes.

          INT - FRENCH BISTRO - AFTERNOON
          Shosanna sits in the back of a French bistro, reading a
          book, "The Saint in New York" by Leslie Charteris, drinking
          wine. When the young German Private from the other day,
          FREDRICK ZOLLER, walks in. He gets a beer, then notices the
          French girl sitting in the back. He smiles, and heads over
          to her. "Oh no, not this guy again", she thinks.
          Again they speak in FRENCH SUBTITLED into ENGLISH;

          FREDRICK
          May I join you?

          SHOSANNA
          Look Fredrick -

          FREDRICK

          (SMILING)
          - You remember my name?

          SHOSANNA
          Yes....Look, you seem a pleasant
          enough fellow -

          FREDRICK
          - Merci.

          SHOSANNA
          Your welcome. - regardless, I want
          you to stop pestering me.

          FREDRICK
          I apologize mademoiselle, I wasn't
          trying to be a pest. I was simply
          trying to be friendly.

          SHOSANNA
          I don't wish to be your friend.


          FREDRICK
          Why not?

          SHOSANNA
          Don't act like a infant. You know why.

          FREDRICK
          I'm more then just a uniform.

          SHOSANNA
          Not to me. If you are so desperate for
          a French girlfriend, I suggest you try
          Vichy?
          Just then TWO OTHER GERMAN SOLDIERS come over, obviously
          very impressed with Fredrick. They make a fuss over him in
          UNSUBTITLED GERMAN, which nether Shosanna, or the non German
          speaking members of the movies audience, can understand.
          He signs autographs for them, shakes their hands, and they
          go on their way.
          Shosanna's eyes narrow.

          SHOSANNA
          Who are you?

          FREDRICK
          I thought I was just a uniform?

          SHOSANNA
          Your not just a German soldier, are
          you somebodies son?

          FREDRICK
          Most German soldiers are somebodies son.

          SHOSANNA
          Yeah, but your not just somebody. What
          are you, Hitlers nephew?
          He leans in across the table, she leans in too, and he says;

          FREDRICK
          Yes.

          SHOSANNA
          Really?

          FREDRICK
          No not really, I'm just teasing you.
          She leans back annoyed.

          SHOSANNA
          Then what is it? What are you, a German
          movie star?

          FREDRICK
          Not exactly.

          SHOSANNA
          (Pfuit), what does that mean, "not exactly".
          I asked if you were a movie star, the
          answer to that question, is yes or no.
          Fredrick laughs at that line.

          FREDRICR
          When you said that just now, you
          reminded me of my sister.
          This catches young Shosanna off guard.

          FREDRICR
          I come from a home of six sisters.
          We run a family operated cinema in Munich.
          Seeing you run around your cinema,
          reminds me of them. Especially my sister
          Helga. She raised me, when our father
          wasn't up to the job. I admire her very
          much. You'd like her, she doesn't wear a
          German uniform.

          SHOSANNA
          You were raised by Helga?

          FREDRICK
          All my sisters, I'm the baby, but Helga
          was the bossiest.

          SHOSANNA
          And your mother and father?

          FREDRICK
          My mother died. And my father was a
          loser. My fathers moto; "If at first
          you don't succeed, quit". The day he
          left, good riddance. My sisters are
          all I need. It's why I like your cinema.
          It makes me feel both closer to them,
          and a little homesick at the same time.

          SHOSANNA
          is your cinema still operatiing?

          FREDRICR
          Oui.

          SHOSANNA
          What's it called?

   

          FREDRICK
          The Kino Haus.

          SHOSANNA
          How has it done durring the war?

          FREDRICK
          Actually, in Germany, cinema
          attendance is up.

          SHOSANNA
          No doubt, you don't have to operate
          under a curfew.

          FREDRICK
          How often do you fill your house?

          SHOSANNA
          (Pfuit), not since before the war.

          FREDRICK
          So if you had one big engagement, that
          would help you out?

          SHOSANNA
          Of course, but that's not likely to
          happen.
          TWO MORE GERMAN SOLDIERS and their TWO FRENCH DATES approach
          the table. They ask for Fredricks autograph, he signs it for
          them. One of the French Girls says in FRENCH, how exciting
          it is to meet a real live German war hero. Shosanna hears
          it. They leave. So that's it, she thinks.

          SHOSANNA
          So your a war hero? Why didn't you tell me?

          FREDRICK
          Everybody knows that, I liked you didn't.

          SHOSANNA
          What did you do?
          He takes a sip of beer.

          FREDRICK
          I've shot the most enemy soldiers
          in world war two...so far.
          You bet your sweet ass that got her attention.

          SHOSANNA
          Wow.

          FREDRICK
          I was alone in a bell tower in a
          walled off city in Russia. It was
          myself, and a thousand rounds of ammo,
          in a bird's nest, against three
          hundred Soviet soldiers.

          SHOSANNA
          What's a bird's nest?

          FREDRICK
          A bird's nest is what a sniper would call
          a bell tower. It's a high structure,
          offering a three hundred and sixty degree
          view. Very advantageous for marksmen.

          SHOSANNA
          How many Russian's did you kill?

          FREDRICK
          Sixty-eight.

          (BEAT)
          The first day. A hundred and fifty the
          second day. Thirty-two, the third day.
          On the forth day, they exited the city.
          Naturally my war story received alot of
          attention in Germany, that's why they
          all recognize me. They call me the
          German Sgt.York.

          SHOSANNA
          Maybe they'll make a film about
          your exploits.

          FREDRICK
          Well, that's just what Joseph Goebbels
          thought. So he did. It's called "Nation's
          Pride", and guess what, they wanted me to
          play myself, so I did. They have posters
          for it in kiosks all over Paris. That's
          another reason for all the attention.

          SHOSANNA
          "Nation's Pride" is about you? "Nation's
          Pride" is starring you?

          FREDRICK
          I know, comical, huh?

          SHOSANNA
          Not so comical. So what are you doing
          in Paris, enjoying a rest?

 

          FREDRICK
          Hardly. I've been doing publicity,
          having my picture taken with different
          German luminaries, visiting troops,
          that sort of thing. Goebbels wants the
          film to premier in Paris, so I've been
          helping them in the planning.
          Joseph is very keen on this film.
          He's telling anybody who will listen,
          when "Nation's Pride" is released,
          I'll be the German Van Johnson.
          Shosanna, wasn't falling for the young German, by any stretch.
          However his exploits, as well as his charming manner, can't
          help but impress. But his referring to Goebbels as "Joseph",
          like their friends, is all she needed to get on the right side
          of things. This young man is trouble with a capital "T", and
          she needs to stay far fucking away from him.
          She abruptly rises, and says;

          SHOSANNA
          Well, good luck with your premier
          Private. I hope all goes well for
          Joseph and yourself. Au revoir.
          And with that, she disappears. Leaving the perplexed private
          alone.

          EXT - CINEMA MARQUEE - DAY
          It's the next day.
          Shosanna and Marcel are changing the letters on the marquee.
          Marcel excuses himself to visit the toilet.
          $hosanna is alone outside the little cinema, perched up on her
          ladder.

          WHEN...
          .A BLACK NAZI SEDAN pulls up in front of the little cinema.
          A GERMAN MAJOR in a black Gestapo uniform steps out of the back
          of the sedan.
          The DRIVER, a German Private, steps out as well.
          Yelling to the young girl up high on the ladder;
          Both GERMAN and FRENCH will be SUBTITLED into ENGLISH.

  

          GESTAPO MAJOR
          Mademoiselle Nimieux?

          SHOSANNA
          Oui?
          Telling his Driver in German to ask her in French;

          GESTAPO MAJOR
          Ask her if this is her cinema?
          in French The Driver asks Shosanna;

          DRIVER
          is this your cinema?

          SHOSANNA

          GESTAPO MAJOR
          Tell her to come down.

          DRIVER
          Come down please.
          She climbs down the ladder.
          The Driver opens the back door of the sedan, indicating for her
          to get in.

          SHOSANNA
          I don't understand, what have I done?

          DRIVER
          (to Major)
          She wants to know what she's done?

          GESTAPO MAJOR
          Who says she's done anything?

          DRIVER
          Who says you've done anything?
          Then in her best imitation of Madame Mimeux's arrogantmanner.

          SHOSANNA
          Then I demand to know what this is about,
          and where do you propose to take me?
          The Driver begins to translate, when the Gestapo Major holds up his
          hand, telling him not to bother. The Major looks at the young
          French girl and tells her in German;



          GESTAPO MAJOR
          Get your ass in that car.
          No translation necessary. She climbs into the back of the car,
          followed by the Germans. The sedan takes off.

          INT - SEDAN(MOVING) - DAY
          The Nazi sedan drives through the early afternoon Paris
          streets.

          WE HOLD SHOSANNA IN TIGHT CU
          the whole ride, never showing her Nazi oppressor sitting beside
          her. We just hold on her face trying not to revel anything.
          The sedan stops.
          The car door opens and the Driver offers Shosanna his hand.

          EXT/INT- MAXIUM'S (FAMOUS PARIS CAFE) - DAY
          She steps out of the car, and is lead into a Paris cafe by the
          Gestapo Officer. It takes the young Jewess a moment or two before
          she realizes she's not being led to a Gestapo interrogation
          room, a railroad car, or a concentration camp, but to lunch.
          The best table at Maxims. Three people, and two dogs, sit at it.
          Germany's Minister of Propaganda, and the number two man in
          Hitlers Third Reich, JOSEPH GOEBBELS, his female French translator
          (and mistress), FRANCESCA MONDINO, and young Private Zoller,
          are the people. TWO BLACK FRENCH POODLES, belonging to
          Mademoiselle Mondino, sit together in another chair at the
          table.
          We join them in mid-conversation;
          They all speak GERMAN, SUBTITLED into ENGLISH;

          GOEBBELS
          - it's only the off spring of slaves that
          allows America to be competitive athletically.
          America olympic gold can measured in Negro
          sweat.
          Shosanna is lead through the French eatery by the Gestapo Major.
          Private Zoller see's her, and stands up, excuse's himself,
          and greets her before she reaches the table.
          Fredrick says in French, SUBTITLED in ENGLISH;

          FREDRICK
          Good you came. I wasn't sure weather or
          not you'd except my invitation.

    

          SHOSANNA
          Invitation?

          THEN...
          .Goebbles Voice says OFF SCREEN;

          GOEBBLES(OS)
          Is that the young lady in question,
          Fredrick?
          Private Zoller turns in his direction, takes Shosanna by the
          arm, and leads her to him.

          FREDRICK
          Yes it is, beer Goebbels. Emmanuelle,
          there is somebody I want you to meet.
          Joseph Goebbels, remaining seated, looks up at the young French
          girl, scrutinizing her as he spoons creme brule into his mouth.
          The excited Fredrick introduces Shosanna to the propaganda
          minister formally.

          FREDRICK
          Emmanuelle Mimieux, I'd like to
          introduce you to the minister of
          propaganda, the leader of the entire
          German film industry, and now I'm a
          actor, my boss, Joseph Goebbels.
          Goebbels offers up his long spider-like fingers for Shosanna to
          shake. She does.

          GOEBBELS
          Your reputation precedes you Fraulein
          Mimieux.
          He looks to Francesca to translate, but she's just taken a big
          bite of terri misu.
          They all laugh.
          Fredrick jumps in...

          FREDRICK
          And normally, this is beer Goebbels French
          interpreter, Mademoiselle Francesca
          Mondino.

          FRANCESCA
          looks up at Shosanna.

          NARRATOR'S VOICE comes on soundtrack;

          NARRATOR (VO)
          Francesca Mondino is much more then
          Goebbels French Interpreter.
          She's also Goebbels favorite French
          actress to appear in his films...

          FLASH ON:

          FILM CLIP
          from one of Francesca's B/W Goebbels produced productions.
          Francesca, dressed as a French peasant girl, with a YOUNG

          GERMAN (MOVIE) SOLDIER.
          She speaks in FRENCH, SUBTITLED in to ENGLISH;

          FRANCESCA/PEASANT GIRL
          I love you, I can't help it. My country
          or my heart, which do I betray?
          A SUBTITLE APPEARS below naming the films title;

          "SENTIMENTAL COMBAT" (1943)

          FLASH ON
          Francesca and Goebbels having sex in her boudoir, on her red
          velvet bed.

          NARRATOR (VO)
          And Goebbels favorite French Mistress,
          to act in his bed.
          WE SEE JUST A SUPER QUICK SHOT OF Goebbels FUCKING Francesca

          DOGGY STYLE.

          FRANCESCA

          (ANIMAL-LIKE)
          Do it! Do it! Fuck me - fill me!

          BACK TO FRANCESCA
          looking at Shosanna.

          FRANCESCA
          Bon jour.

          SHOSANNA
          Bon jour.


          FREDRICK
          And you've met the Major.
          The Gestapo officer steps up and says, to Fredrick in German;

          GESTAPO MAJOR
          Actually, I didn't introduce myself.
          (to Shosanna)
          Major Deiter Helistrom of the Gestapo, at
          your service mademoiselle.
          (he clicks
          his heels)
          Please allow me, have a seat.
          The Gestapo Officer pulls out a chair, for the young lady to sit
          down. Shosanna takes the hot seat. Seated to her right is
          Private Zoller. To her left are the two curly pampered
          poodles. Major Helistrom pours Shosanna a glass of red wine
          from a small craft on the table.

          MAJOR HELLSTROM
          Try the wine mademoiselle, it's quite good.
          Goebbels looks across the table at her.

          GOEBBELS
          well I must say, you've made quite a
          impression on our boy.
          Francesca interprets Goebbels German for Shosanna.

          GOEBBELS
          I must say fraulein, I should be rather
          annoyed with you.
          Francesca interprets..

          GOEBBELS
          I arrive in France, and I wish to have
          lunch with my star...
          Francesca interprets...

          GOEBBELS
          Little do I know Be's become
          the toast of paris, and now he
          must find time for me.
          Francesca interprets...

  

          GOEBBELS
          People wait in line hours, day's,
          to see me. For the Fuhrer and
          Private Zoller, I wait.
          Francesca interprets...

          GOEBBELS
          So finally, I'm granted a audience
          with the young Private, and he spends
          the entire lunch speaking of you
          and your cinema.
          Francesca interprets...

          GOEBBELS
          So Fraulein Mimieux, let's get down
          to business.
          Private Zoller interrupts -

          FREDRICK
          - Heer Goebbels, I haven't informed
          her yet.

          GOEBBELS
          Unless the girls a simpleton, I'm
          sure she's figured it out by now,
          after all she does operate a cinema.
          Francesca, tell her.
          Francesca tells Shosanna in French;

          FRANCESCA
          What they're trying to tell you
          Emmanuelle, is Private Zoller has
          spent the last hour at lunch,
          trying to convince Monsieur Goebbels
          to abandon previous plans for Private
          Zollers film premier, and change the
          venue to your cinema.
          Zoller reacts.

          FRANCESCA

          (FRENCH
          to Zoller)
          What?

          FREDRICK
          I wanted to inform her.

          FRANCESCA
          Shit. I apologize Private, of
          course you did.

          


          GOEBBELS

          (GERMAN
          to Francesca)
          What's the issue?

          FRANCESCA
          The Private wanted to inform the
          mademoiselle himself.

          GOEBBELS
          Nonsense. Until I ask a few
          questions, he has nothing to inform.
          Let the record state, I have not
          agreed to a venue change.

          MAJOR HELLSTROM
          Duly noted.
          Goebbels speaks German to Shosanna;

          GOEBBELS
          You have opera boxes?

          SHOSANNA

          GOEBBELS

          SHOSANNA

          GOEBBELS
          More would be better. How many
          seats in your auditorium?

          SHOSANNA
          Three hundred and fifty.

          GOEBBELS
          That's almost four hundred less
          then The Ritz.
          Fredrick jumps in...

          FREDRICK
          But beer Goebbels, that's not such
          a terrible thing. You said yourself
          you didn't want to indulge every
          two faced french bourgeois taking
          up space currying favor. With less
          seat's it makes the event more
          exclusive. Your not trying to fill
          the house, their fightin g for seats.



          FREDRICK

          (CON'T)
          Besides, to hell with the French.
          This is a German night, a German
          event, a German celebration. This
          night is for you, me, the German
          military, the high command, their
          family and friends. The only people
          who should be allowed in the room,
          are people who will be moved by
          the exploits on screen.
          Goebbels listens silently, then after a bit of a pause;

          GOEBBELS
          I see your public speaking has
          improved. It appears I've created
          a monster. A strangely persuasive
          monster. When the war's over,
          politics awaits.
          Table chuckles.

          GOEBBELS
          Well Private, though it is true,
          I'm inclined to indulge you anything.
          I must watch a film in this young
          ladies cinema before I can say,
          yes or no.
          (to Shosanna)
          So young lady, you are to close
          your cinema tonight, and have
          a private screening me.
          Francesca interprets...

          GOEBBELS
          What German films do you have?
          Francesca asks..

          SHOSANNA
          My cinema , on German night, tends
          to show older German classics.
          Francesca interprets...

          GOEBBELS
          Why not my films?
          Francesca asks...



          SHOSANNA
          I draw a older German audience in
          my cinema, that appreciate the
          nostalgia of the earlier time.
          Francesca interprets...

          GOEBBELS
          That's nonsense fraulein. Us Germans
          are looking forward, not backwards.
          That era of German cinema is dead.
          The German cinema I create, will not
          only be thee cinema of Europe. But
          the worlds only alternative to the
          degenerate Jewish influence of
          Hollywood.
          Fredrick Jumps in...

          FREDRICK
          Along with being a cinema owner,
          Emmanuelle is quite a formidable
          film critic.
          He chuckles, but alone.

          GOEBBELS
          WSo it would appear. Unfortunately
          for the fraulein, I've outlawed
          film criticism.
          Zoller, thinking fast, says;

          FREDRICK
          Why don't you screen "Lucky Kids"?
          I'm sure Emmanuelle hasn't seen. it.
          And it's so funny, I've been meaning
          to recommend it to her, for her
          German night. That's a great idea,
          let's watch "Lucky Kids" tonight.

          GOEBBELS
          Ahhh, "Lucky Kids", "Lucky Kids",
          "Lucky Kids". When all is said and
          done, my most purely enjoyable
          production. Not only that, I
          wouldn't be surprised, if sixty
          years from now, It's "Lucky Kids"
          that I'm the most remembered for.
          I know it doesn't seem like it now,
          but mark my words.
          Very well, I'll have a print sent
          over to the fraulein'.s cinema.
          We'll screen "Lucky Kids" tonight.

          As Francesca interprets this for Shosanna...
          ...the empty chair next to the young Jewish girl is suddenly
          filled with the bottom half of a grey S.S. officer uniform.

          GOEBBELS
          Ah Landa, your here, this is the
          young lady in question.
          The S.S. Officer sits down, and it's our old friend from the
          first scene COL HANS LANDA.

          FREDRICK
          Shosanna, this4pol Hans Landa of
          the SS., he'll be running security
          for the premier.

          CU SHOSANNA
          A bomb is dropped and detonated behind her eyes. But if she
          gives any indication of this, her war story ends here.
          The S.S. OFFICER
          that murdered her family, takes her hand and kisses it,
          saying in perfect French;

          COL LANDA
          Charmed Mademoiselle.

          MAJOR HELLSTROM
          Better known as "The Jew Hunter".
          The table laughs.

          GOEBBELS
          Oh Francesca, what was that funny
          thing the Fuhrer said about Hans?

          FRANCESCA
          What thing?

          GOEBBELS
          You know, you were there, it was a
          funny thing the Fuhrer said,
          about Hans...Something about a pig?
          Francesca's memory is jogged.

          FRANCESCA
          Oh, yes of course.
          She repeats it by whispering it in Goebbels ear.



          GOEBBELS
          Oh, yes of course, that's it. So
          the Fuhrer said, he wouldn't be
          surprised if Hans weren't rooting
          out Jews like a truffle pig from
          the play pen.

          FRANCESCA
          That's what we need, pigs that can
          root out Jews.

          COL LANDA
          Who needs pigs when you have me?
          Big hearty laugh around the table.

          GOEBBELS
          Do you have a engagement tonight?

          COL LANDA
          Well, as a matter of fact, I do -

          GOEBBELS
          - Break it. We're all going to the
          Fraulein's cinema tonight to view
          "Lucky Kids".

          COL LANDA
          Splendid.
          Then Reich Ministers companion mademoiselle Mondino,

          INTERRUPTS;

          FRANCESCA
          And now I must get Reich Minister Goebbels
          to his next appointment.

          GOEBBELS
          Slave driver! French slave driver!
          They all chuckle.
          Everybody begins to stand up from the table...
          ..Francesca gathers the stupid dogs...
          .as Col Landa stands, he says;

          COL LANDA
          Actually, in my role as security
          chief of this joyous German occasion,
          I'm afraid I must have a word with
          Mademoiselle Mimieux.

   
          Mademoiselle Mimieux eyes go to Private Zoller, who responds.

          FREDRICK
          What sort of discussion?

          COL LANDA
          That sounded suspiciously like a
          Private questioning the order of a
          Colonel? Or am I just being sensitive?

          FREDRICK
          Nothing could be further from the
          truth Colonel. Your authority is
          beyond question.
          But your reputation does proceed
          you. Should Mademoiselle Mimieux
          or myself be concerned?

          GOEBBELS
          Hans, the boy means no harm, he's
          simply smitten. And he's correct.
          Your reputation does proceed you.
          Laughter all around. The Reich Minister and his axis entourage,
          make their way to front of the cafe, with the two dumb dogs on
          a leash, leading the way.

          COL LANDA
          No need for concern, you two.
          As security chief, I simply need
          to have a chat with the possible
          new venue's property owner.

          FREDRICK
          I was just hoping to escort
          Mademoiselle Mimieux back to her
          cinema.

          GOEBBELS
          Nonsense! You can eat ice cream,
          and walk along the Sienne another
          time. Right now, allow Col Landa
          to do his job.
          Everybody saystheir farewells.
          Col Landa offers the young jew in hiding a seat at a small
          table in the outside patio area of Maxims.
          The fluency and poetic proficiency of the S.S. jew hunters
          french, revels to the audience, that his feigning clumsiness at
          french with Monsieur Lapadite in the films first scene, was
          simply a interrogation-technique.

          

          They speak FRENCH SUBTITLED into ENGLISH;

          COL LANDA
          Have you tried the strudel here?

          SHOSANNA
          No.

          COL LANDA
          It's not so terrible. So how is it
          the young Private and yourself came
          to be acquainted?
          She's about to answer, when a WAITER approaches.

          COL LANDA
          Yes, two strudels, one for myself,
          and one for the mademoiselle. A cup
          of espresso, with a container of.
          steamed milk, on the side.
          For the Mademoiselle, a glass of milk.
          Considering Shosanna. grew up on a dairy farm, and the last time
          she was on a dairy farm, her strudel companion murdered her
          entire family, his ordering her milk is, to say the
          least... . disconcerting.
          The key to Col Landa's power, and or charm, depending on the
          side ones on, lies in his ability to convince you he's privy to
          your secrets.

          COL LANDA
           So Mademoiselle, you were beginning
          to explain....?

          SHOSANNA

          (ANXIOUSLY)
          Up untill a couple of days ago,
          I had no knowledge of Private Zoller,
          or his exploits. To me, the Private
          was simply just a patron of my cinema.
          We spoke a few times, but -

          COL LANDA
          - Mademoiselle, let me interrupt you.
          This is a simple formality, no
          reason for you to feel anxious.
          The Colonel takes one look at it, and says to the Waiter;



          COL LANDA
          I apologize, I forgot to order the
          cream fresh.

          WAITER
          One moment.
          He exits.

          COL LANDA
          (Refuring to
          the apple pie)
          Wait for the cream.
          (Back to

          BUSINESS)
          So Emmanuelle - May I call you
          Emmanuelle?

          SHOSANNA
          Oui.

          COL LANDA
          So Emmanuelle, explain to me how
          does it happen, that a young lady
          such as your self, comes to own a
          cinema?
          The Waiter returns, applying cream fresh to the two strudels.
          The S.S. Colonel looks across the table at his companion, picking
          up his fork, he says;

          COL LANDA
          After you.
          Shosanna takes •a whip creamy bite of strudel, Landa follows her
          lead.

          COL LANDA

          (MOUTHFULL
          of pie)
          Success?
          Shosanna, mouth full of pie, indicates she approves.

          .COL LANDA
          Like I said, not so terrible.
          (Back to

          BUSINESS)
          So you were explaining the origin of
          your cinema ownership?


          SHOSANNA
          The cinema originally belonged to
          my aunt and uncle -
          Col Landa removes alittle black book from his pocket.

          COL LANDA
          - What is there names?

          SHOSANNA
          Jean-Pierre and Ada Mimieux.
          He records the names in his little book.

          COL LANDA
          Where are they now?

          SHOSANNA
          My uncle was killed during blitzkrieg.

          COL LANDA
          Pity... . Continue.

          SHOSANNA
          Aunt Ada passed away from fever
          last spring.'

          COL LANDA
          Regrettable.

          (RESPECTFUL

          PAUSE)
          It's come to my attention you have
          a negro in your employ, is that true?

          SHOSANNA
          Yes, he's a Frenchman. His name is
          Marcel. He worked with my aunt and
          uncle since they opened the cinema.
          He's the only other one who works
          with me.

          COL LANDA
          Doing what?

          SHOSANNA
          Projectionist.

          COL LANDA
          Is he any good?

          SHOSANNA
          The best.


          COL LANDA
          Actually one could see where that
          might be a good trade for them.
          Can you operate the projectors?

          SHOSANNA
          Of course I can.

          COL LANDA
          Knowing the Reich Minister as I do,
          I'm quite positive he wouldn't want
          the success or failure of his
          illustrious evening, dependent on
          the prowess of a negro. So if it
          comes to pass we hold this event
          at your venue, talented no doubt,
          as your negro may be, you will
          operate the projectors. Is that
          exceptable?
          As if she has any say.

          SHOSANNA
          Oui.
          Col Landa takes another bite of strudel, Shosanna follows suit.

          COL LANDA
          So it would appear our young hero is
          quite smitten with you?

          SHOSANNA
          Private Zollers feelings for me
          aren't of a romantic nature.

          COL LANDA
          Mademoiselle...?

          SHOSANNA
          Colonel, his feelings are not
          romantic. I remind him of his sister.

          COL LANDA
          That doesn't mean his feelings
          aren't romantic.

          SHOSANNA
          I remind him of his sister who
          raised him.


          COL LANDA
          It's sounding more and more romantic
          by the minute.
          Landa takes out a handsome looking cigarette case, with a S.S.
          LOGO on it. Removing on of the fags, he lights it up with a
          fancy S.S. gold lighter. He offers one to Shosanna.

          COL LANDA
          Cigarette?

          SHOSANNA
          No thank you.

          COL LANDA
          Do you smoke?

          SHOSANNA
          Yes.

          COL LANDA
          Then I insist, you must take one.
          There not French, there German.
          I hope your not nationalist about
          your tobacco, to me French cigarettes
          are a sin against nicotine.
          She takes one, but makes no move to light it.
          He inhales deep, and says;

          COL LANDA
          I did have some thing else I wanted
          to ask you, but right now, for the
          life of me, I can't remember what it
          is. Oh well, must not of been important.
          Col Landa stands up, throws some French francs on the table,
          puts on his grey S.S. cap, touches his finger to his visor,
          saluting Shosanna, and saying:

          COL LANDA
          Till tonight.
          And with that he's gone.
          Shosanna breaths a sigh of relief.
          The CAMERA begins to slowly lower from a MEDIUM CU to her feet
          ankles and floor. We see her shoes are in a puddle of urine.
          During her conversation and strudel with the man that
          exterminated her entire family, shosanna pissed herself.
          She drops the German cigarette in to the piss puddle by her
          feet.



          INT - CINEMA AUDITORIUM - NIGHT
          The SILVER SCREEN
          on screen is the German screwball comedy "LUCKY KIDS".
          We hear OFF SCREEN laughter at the on screen aryan antics.

          CU GOEBBELS
          Watching the screen, basking in his own toxic genius.

          CU FRANCESCA
          Laughing at the comedy, hand covering her mouth.

          CU TWO BLACK POODLES
          Pantingly watching the screen.

          CU MAJOR HELLSTROM
          Smiling, smoking a French cigarette.

          CU COL LANDA
          Smoking his calabash, amused.

          CU FREDRICK ZOLLER
          Truly enjoying himself.

          CU SHOSANNA
          watching the screen.
          The LITERARY NARRATOR comes on the soundtrack.

          NARRATOR (VO)
          While Shosanna sits there pretending
          to be amused by the aryan antics of
          Goebbels Frank Capra copy, "Lucky
          Kids", a thought suddenly comes to
          her.
          We see her face get slightly distracted behind the eyes.

          NARRATOR (VO)
          What if tonight, accidently, the
          cinema burned down? The Third Reich
          would lose it's Minister of
          propaganda, it's national hero, and
          it's top jew hunter, all in one fell
          swoop.
          She chuckles at the thought, though it looks like she's
          laughing at the German comedy.

          SILVER SCREEN
          "The END" card for "Lucky Kids" is projected.
          The Nazi rouges gallery, and Shosanna, applaud the film.

     
          The lights go up.

          P
          Goebbels excepts congratulations, as they stand and begin to
          file out into the lobby.

          NARRATOR(VO)
          The screening of "Lucky Kids" was a
          complete success. And Heer Goebbels
          conceded to have the venue changed
          to Shosannas cinema. Not only that,
          in a moment of inspiration, Heer
          Goebbels had a idea.
          Goebbels speaks GERMAN, and Francesca translates;

          GOEBBELS
          I must say, I appreciate the modesty
          of this auditorium. Your Cinema
          has real respect, almost church like.
          Not to say we couldn't spruce the
          place up a bit. In Versailles
          there's a crystal chandelier hanging
          in the banquet hall that is
          extraordinary. we're going to get it,
          and hang it from the very middle of
          auditorium roof. Also I want to go to
          Louvre, pick up a few Greek nudes,
          and just scatter them about the lobby.

          MONTAGE
          we see a quick series of shots that show all that happening.
          The chandelier being removed from the ceiling of Versailles.
          Greek nude statues being hand trucked out of the Louvre.
          A truck driving through the french countryside with the
          enormous crystal chandelier in the back.
          The lobby of Shosanna's cinema, pimped out in Nazi iconography.
          WORKERS buzz around decorating. The Greek statues are moved
          into place.
          We see Workers trying with incredible difficulty, to hoist the
          huge, heavy, and twinkingly fragile chandelier, in Shosannas
          auditorium, which now resembles something out of one of Tinto
          Brass's Italian B-movie rip off's of Visconti's "The Damned".

          SHOSANNA
          watches all this from a opera box, she shakes her head in
          disbelief.



          BACK TO SHOSANNA AND THE NAZI "S
          in the lobby, post screening of "Lucky Rids", she's soundlessly
          escorting them to the door, as they make their goodbyes.

          NARRATOR (VO)
          As they left the little French
          cinema that night, all the Germans
          were very happy...
          We see Private Zoller hanging back, so he.can say goodbye.

          NARRATOR (VO)
          None more so then Private Zoller.
          She closes the door on him. Watching the Nazi's walk into the
          Paris night. Their shadows, for a moment onAwall, look
          like grotesque Nazi charcthers. 4644
          The Nazi's are gone.
          Marcel sits at the top of the staircase of the lobby, looking
          down at Shosanna.
          They speak in FRENCH SUBTITLED into ENGLISH;

          MARCEL
          What the fuck are we suppose to do?

          SHOSANNA
          It looks like we're suppose to have
          a Nazi premier.

          MARCEL
          Like I said, what the fuck are we
          suppose to do?

          SHOSANNA
          Well, I need to speak with you
          about that.

          MARCEL
          About what?

          SHOSANNA
          About these Hun swine, commandeering
          our cinema.

          MARCEL
          What about it?
          She slowly walks up the stairs to Marcel. She makes him part
          his legs, and sits on the lower step, between his legs. Her
          back up against his chest, his arms around her shoulders.
          Shosanna has only known this type of intimacy with Marcel.


          SHOSANNA
          Well, when I was watching the bosch
          (Said in

          ENGLISH)
          Capra-corn abomination,
          (Back to

          FRENCH)
          I got a idea.

          MARCEL
          I'm confused, what are we talking
          about?

          SHOSANNA
          Filling the cinema with Nazi's and
          their whores, and burning it down
          to the ground.

          MARCEL
          I'm not talking about that, your
          talking about that.

          SHOSANNA
          No, we're talking about that,
          right now. If we can keep this
          place from burning down by
          ourselves, we can burn it down
          by ourselves.

          MARCEL
          Shosanna -

          SHOSANNA
          No, Marcel, just for sake of argument,
          if we wanted to burn down the cinema,
          for any number of reasons, you and I
          could physically accomplish that, no?

          MARCEL
          Oui Shosanna, we could do that.

          SHOSANNA
          And with Madame Mimieux's 350 nitrate
          film print collection, we wouldn't
          even need explosives, would we?

          MARCEL
          You mean we wouldn't need any more
          explosives?

          SHOSANNA
          Oui, that's exactly what I mean.
          She begins kissing his hands.

          


          SHOSANNA

          (CON'T)
          I am going to burn down the cinema
          on Nazi night.
          One of his fingers probes her mouth.

          SHOSANNA

          (CON'T)
          And if I'm going to burn down the
          cinema, which I am, we both know,
          your not going to let me do it
          by myself.
          The back of her head presses up hard against him, as his hand
          both caresses, and grips her lovely neck.

          SHOSANNA

          (CON'T)
          Because you love me. And I love you.
          And your the only person on this earth
          I can trust.
          She then TWISTS around, so she's straddling him. They are now,
          face to face.

          SHOSANNA

          (CON'T)
          But that's not all we're going to do.
          Does the filmmaking equipment it the
          attic still work? I know the film
          camera does. How about the sound
          recorder?

          MARCEL
          Quite well, actually. I recorded a
          new guitarist I met in a cafe last
          week. It works superb. Why do we
          need filmmaking equipment?

          SHOSANNA
          Because Marcel, my sweet, we're
          going to make a film. Just for the
          Nazi's.

          FADE TO BLACK



          FADE OFF

          INT - ENGLISH COUNTRY ESTATE - DAY
          A young MILITARY ATTACHE, opens the sliding double doors
          that serve as a entrance to the room.

          MILITARY ATTACHE
          Right this way, Lieutenant.
          A snappy handsome British Lieutenant in dress browns, steps inside
          the room. This officer, who has been mixing it up with
          the Gerrys since the late thirties, is named LT.ARCHIE HICOX.
          A young George Sanders type(The Saint and Private affairs of
          Bel Ami, years).
          Upon entering the room, Lt.Hicox is gobsmacked.
          Standing before him is legendary military mastermind,
          GENERAL ED FENECH, a older George Sanders type (Village of the
          Dammed).
          But in the back of the room, sitting behind a piano,
          smoking his ever present cigar, is the unmistakable
          bulk of WINSTON CHURCHELL.

          LT. HICOX
          Lt. Archie Hicox, reporting sir.

          GEN FENECH
          (Salutes back)
          General Ed Fenech, at ease Hicox.
          Drink?
          Hicox's eye's go to the formidable bulldog behind the piano,
          who's scrutinizing him behind his cigar. However the man behind
          the cigar makes no gesture, and the General, makes no
          acknowledgment of the three hundred pound gorilla in the room.
          Which Lt.Hicox knows enough to mean, if Churchell isn't
          introduced, he ain't there.

          LT.HICOX
          if you offered me a scotch and plane
          water, I could drink a scotch and
          plain water.


          GEN.FENECH
          That a boy, Lieutenant. Make it
          yourself, like a good chap,
          will you? Bars in the globe.
          Hicox heads over to the bar globe.

          LT.HICOX
          Something for yourself, sir?

          GEN.FENECH
          Whiskey straight. No junk in it.
          The Lieutenant moves over to the Columbus-style globe bar, and
          busies himself mixing spirits, playing bartender chappy.
          Fenech, eyeing the Lieutenant's file.

          GEN.FENECH
          It says here you've run three
          undercover commando operations in
          Germany, and German occupied
          territories? Frankfaurt, Holland,
          and Norway to be exact?
          Back to them, mixing drinks, he says;

          LT.HICOX
          Extraordinary people, the Norwegian's.

          GEN.FENECH
          It says here you speak German fluently?

          LT.HICOX
          Like a Katzenjammer Kid.

          GEN.FENECH
          And your occupation before the war?
          His back still to us, as he bartends...

          LT. H I COX
          I'm a film critic.

          GEN.FENECH
          List your accomplishments?

          LT.HICOX
          Well sir, such as they are, I write
          reviews and articles, for a publication
          called; "Films and Filmmakers".
          As well as our sister publication.



          GEN.FENECH
          What's that called?

          LT.HICOX
          "Flickers Bi-Monthly". And I've had
          two books published.

          GEN.FENECH
          Impressive. Don't be modest Lieutenant,
          what are their titles?

          LT. HI COX
          The first book was called; "Art Of The
          Eye's, The Heart, and The Mind:A Study
          of German Cinema in the Twenties".
          And the second one was called; ...
          He turns around with his whiskey and plain water, and the
          Generals whiskey no junk. He finishes what he was saying, as
          he walks toward the General, handing him his drink.

          LT.HICOX
          "Twenty-Four Frame Da Vinci".
          It's a subtexual film criticism
          study of the work of German director
          G.W. Pabst.

          LT. HI COX
          What should we drink to, sir?

          GEN.FENECH
          (Thinking, for
          a moment)
          Down with Hitler.

          LT.HICOX
          All the way down, sir.

          GEN.FENECH
          Are you familiar with German cinema
          under the Third Reich?

          LT. HI COX
          Yes. Obviously I haven't seen any of
          the films made in the last three
          years, but I am familiar with it.

          GEN.FENECH
          Explain it to me.?

       

          LT.HICOX
          Pardon sir?

          GEN.FENECH
          This little escapade of ours,
          requires a knowledge of the German
          film industry under the Third Reich.
          Explain to me UFA, under Goebbels?

          LT.HICOX
          Goebbels considers the films he's
          making to be the beginning of a new
          era in German cinema. A alternative
          to what he considers the Jewish
          German intellectual cinema of the
          twenties. And the Jewish controlled
          dogma of Hollywood.
          SUDDENLY... Bellowing from the back of the room;

          CHURCHELL
          How's he doing?

          LT. H I COX
          Frightfully sorry sir, once again?

          CHURCHELL
          You say he wants to take on the Jews
          at their own game? Compared to say
          .Louis B.Mayer...how's he doing?

          LT.HICOX
          Quite well, actually. Since Goebbels
          has taken over, film attendance has
          steadily risen in Germany over the
          last eight years. But Louis B.Mayer
          wouldn't be Goebbels proper opposite
          number. I believe Goebbels see's himself
          closer to David O.Selznick.
          Gen.Fenech looks to the Prime Minister.
          With a puff of cigar smoke, Churchell says;

          CHURCHELL
          Brief him.

          GEM.FENECH
          Lt.Bicox, at this point in time I'd
          like to brief you on, Operation Kino.
          Three days from now, Joseph Goebbels is
          throwing a gala premier of one of his
          new movies in Paris -

    

          LT.HICOX
          - What film sir?
          The General has to resort to peeking at his file.

          GEN.FENECH
          The motion pictures called; "Nation's
          Pride".

          LT.HICOX
          Oh, you mean the film about Private
          Zoller?

          GEN.FENECH
          We don't have any intelligence, on
          exactly, what the film that night
          will be about.

          LT.HICOX
          But it's called "Nation's Pride"?

          GEN.FENECH
          Yes.

          LT.HICOX
          I can tell you what it's about,
          it's about Private Fredrick Zoller.
          He's the German Sgt.York.
          Fenech can't help suppress a smile, they have the right man.

          GEN.FENECH
          In attendance at this joyous Germatic
          occasion, will be Goebbels, Gerring,
          Boorman, and most of the German High
          command, including all high ranking
          officers of both The S.S., and, The
          Gestapo. As well as luminaries of the
          Nazi propaganda film industry.

          LT.HICOX
          The master race at play, aye?

          GEN.FENECH
          Basically, we have all our rotten
          eggs in one basket. The objective of
          Operation Kino.... Blow up the basket.

          LT.HICOX
          (Reciting a
          a poem)
          "...and like the snows of yesteryear,
          gone from this earth". Jolly good, sir.

      

          GEN.FENECH
          An American Secret Service outfit,
          that lives deep behind enemy lines,
          will be your assist. The Germans call
          them; "The Basterds".

          LT.HICOX
          "The Basterds", never heard of them.

          GEN.FENECH
          Whole point of the secret service,
          old boy, you not hearing of them.
          But the Gerrys have heard of them,
          because these yanks have been them
          the devil. Their leader is a chap
          named Lt.Aldo Raine. The Germans
          call him, "Aldo the Apache".

          LT.HICOX
          Why do they call him that?

          GEN.FENECH
          Best guess, is because he removes the
          scalps of the Nazi dead.

          LT.HICOX
          Scalps, sir?

          GEN.FENECH
          The hair.
          He runs his finger along his hairline.

          GEN.FENECH
          Like a red Injun.

          LT.HICOX
          Rather gruesome sounding little
          Dicky bird, isn't he?

          GEN.FENECH
          No doubt the whole lot, a bunch a
          nutters. But you've heard the
          expression, "It takes a thief".

          LT.HICOX
          Indeed.
          General Fenech continues on with his exposition, moving over
          to a military map.


          GEN.FENECH
          You'll be dropped into France, about
          twenty four kilometers outside of Paris.
          The Basterds will be waiting for you.
          First thing, you go to a little village
          called, "Nadine".
          (He points it
          out on the map)
          Apparently the Gerrys never go there.
          In Nadine, there's a tavern, called,
          "La Louisiane", you'll rendez-vous
          with our double agent, and she'll take
          it from there. She's the one who's
          going to get you in the premiere.
          It will be you, her, and two German
          born members of the Basterds. She's
          also made all the other arrangements
          your going to need.

          LT.HICOX
          How will I know her?

          GEN.FENECH
          I suspect that won't be too much
          trouble for you. Your contact is
          Bridget Von Hammersmark.

          LT.HICOX
          Bridget Von Hammersmark? The German
          movie star is working for England?

          GEN.FENECH
          For the last two years now. one could
          even say Operation Kino was her
          brainchild.
          In the back of the room the bulldog barks;

          CHURCHELL
          Extraordinary women.

          LT.BICOX
          Quite.

          GEN.FENECH
          You'll go to the premiere as her
          escort, lucky devil. She'll also
          have the premiere tickets for the
          other two. Got the gist?

          LT.HICOX
          I think so, sir. Paris when it sizzles.
          The three British bulldogs laugh.

      

          EXT - CINEMA ROOFTOP - DAY
           Shosanna and Marcel are on the rooftop of their cinema,
          literally, making a movie.
          Marcel is behind a old (even then) BOLEX 35MM MOVIE CAMERA,
          positioned low looking up.
           Shosanna, the camera subject, stands on boxes looking down
          into it.
          A old timey MICROPHONE is positioned out of frame.
          As they always do, and always will, they speak FRENCH
          SUBTITLED into you know what.

          MARCEL
          We need a sync mark.

          SHOSANNA
          What is a sync mark?

          MARCEL
          A action and noise put together,
          So we can sync up the picture
          and sound.

          SHOSANNA
          How do we do that?

          MARCEL
          Clap your hands.
          She does.

          MARCEL
          In frame imbecile.
          She claps her hands in front of her face.

          MARCEL
          Ready?
          Shosanna takes a deep breath, then;

          SHOSANNA
          Ready.

          MARCEL
          Action.

          WE CUT BEFORE SHE SPEAKS TO...

          


          .THE SCENE EARLIER BETWEEN MARCEL AND SHOSANNA IN THE

          LOBBY, ON THE STAIRS, TALKING ABOUT BURNING DOWN THE CINEMA.
          Big diffrence this time, it's in COLOR.

          MARCEL
          But how do we get it developed?
          Only a suicidal idiot like us would
          develop that footage. How do we get
          a35mm print with a soundtrack?

          SHOSANNA
          Do you know one person who can do
          both things?

          MARCEL
          Of course Gaspar, very nice man,
          took care of all the experimental
          filmmakers. But nobody in their
          right mind would strike a print of
          what your talking about. If the
          Nazi's found out, their life wouldn't
          be worth this.
          He snaps his fingers.

          SHOSANNA
          In a wolf fight, you ether eat the
          wolf, or the wolf eats you. If we're
          going to obliterate the Nazi's,
          we have to use their tactics.

          MARCEL
          What does that mean?

          SHOSANNA
          We find somebody who can develop
          and process a35mm print. And we
          make them do it, or we kill them.
          Once we tell them what we want to
          do, if they refuse, we have to kill
          them anyway, or they'll turn us in.

          MARCEL
          Would you do that?

          SHOSANNA
          Like that.
          Snaps her fingers.

  

          INT - SMALL FILM PROCESSING LAB- LATE NIGHT
          A old mom and pop film processing lab circa the Thirties.
          Late late at night.
          GASPAR, the fatherly figure of all the experimental French
          filmmakers in the decade before German rule, takes a SAVAGE
          BEATING at the hands of his friend Marcel.
          Shosanna watches, pitiless.

          SHOSANNA
          Bring that fucker over here!
          Put his head down on that table.
          Marcel, holds his arm behind him, as he forces his head flat
          against the table top.
          Shosanna brings a HATCHET DOWN DEEP into the table, just by
          his face.

          SHOSANNA
          You ether do what the fuck we tell
          you to, or I'll bury this axe in your
          collaborating skull.

          GASPAR
          I'm not a collaborator!

          SHOSANNA
          Then prove it! Or does your manhood
          go no deeper, then standing to piss?
          Marcel, does his wife, and children
          know you?

          MARCEL
          Oui.

          SHOSANNA
          Then after we kill this dog for
          Germans, we'll go and silence them.
          She lifts up the hatchet, raises it high...

          SHOSANNA
          Prepare to die, collaborator fucker!

          CUT TO

          GASPAR
          hands the couple a SMALL SILVER CAN OF 35mm FILM. Outside
          the shop window, it's morning.

  

          INT - PROJECTION BOOTH-
          WE SEE the five heavy silver film cans of Fredrick Zollers
          life story "Nations Pride"(clearly marked) on the floor of
          the projection booth.
          The can for REEL 4is open and empty.
          Shosanna's at the editing bench, REEL 4, is up on the
          rewinds...
          Shosanna SPLICES her and Marcels footage into REEL 4 of
          Fredricks film. Rewinds it, puts it back in the can, and
          puts a piece of RED TAPE on REEL 4 CAN.
          She walks out of the booth, turning off the lights behind
          her, PLUNGING THE SCREEN INTO DARKNESS.

          BLACK FRAME

          FROM BLACK DISSOLVE TO

          EXT - LA LOUISIANE (TAVERN) - NIGHT
          We see a small basement tavern, with a old rustic sign out
          front that reads, "La Louisiane".

          A SUBTITLE APPEARS:
          "The Village of

          NADINE, FRANCE"
          TWO SHOT LT.HICOX and LT.ALDO RAINE
          Aldo is dressed like a French civilian. Hicox is dressed in a
          German grey S.S. Cap't uniform. They look out of a window, in a
          apartment, in the village of Nadine, overlooking the tavern.

          LT.ALDO
          You didn't say the goddamn rendez-vous
          was in a fuckin basement.

          LT.HICOX
          I didn't know.

          LT.ALDO
          You said it was in a tavern?

          LT.HICOX
          it is a tavern.

          

          LT.ALDO
          Yeah, in a basement. You know,
          fightin in a basement offers a lot
          of difficulties, number one being,
          your fighting in a basement.
          Wilhelm Wicki, joins the SHOT, dressed in a German S.S.
          Lieutenant uniform.

          WICKI
          What if we go in there, and she's
          not even there?

          LT.HICOX
          We wait. Don't worry, she's a British
          spy, she'll make the rendez-vous.
          WE SEE the other Basterds, dressed in French civilian clothes,
          are in the room as well, they are, Donowitz, Hirschberg,
          and Utivich. And in the back of the room, dressed in the grey
          uniform of a S.S. Lieutenant, Hugo Stiglitz sits off by himself,
          sharpening his S.S. DAGGER on his leather belt looped around his
          boot. Anybody not in the scene from the Basterds opening
          chapter, is dead.
          Lt.Hicox watches Stiglitz off by himself on the other side of
          the room, SHARPENS his dagger menacingly.
          .Stiglitz is fucking werid...
          Lt.Hicox approaches Stiglitz...

          LT.NICOX
          Stiglitz, right?

          STIGLITZ
          That's right, sir.
          He continues bringing the blades edge, up, then, down on the
          leather strap.

          LT.HICOX
          I hear your pretty good with that?
          Meaning the blade. Stiglitz doesn't answer.

          LT.HICOX
          You know, we're not looking for
          trouble, right now. We're simply
          making contact with our agent.
          Should be uneventful. However, on
          the off chance I'm wrong, and things
          prove eventful. I need to know, we can
          all remain calm.

   
          The renegade Gerry Sergeant, stops his blades progress, and
          looks up at the limy Lieutenant.

          STIGLITZ
          I don't look calm to you?

          LT.HICOX
          Well, now you put it like that,
          I guess you do.
          He turns his attention back to his blade.
          Hicox moves over to Aldo, and asks him privately;

          LT. HI COX
          This Gerry of yours, Stiglitz?
          Not exactly the loquacious type,
          is he?
          Aldo just looks at him.

          LT.ALDO
          Is that the kinds man you need, the
          loquacious type?

          LT.HICOX
          Fair point, Lieutenant.

          LT.ALDO
          So y'all git in trouble in there,
          what are we suppose to do?
          Make bets on how it all comes out?

          LT.HICOX
          If we get into trouble, we can
          handle it. But if trouble does
          happen, we need you to make damn
          sure no Germans, or French, for
          matter, escape from that basement.
          If Frau Von Hammersmark's cover is
          compromised, the mission is kaput.

          SGT.DONOWITZ
          Speaking of Frau Von Hammersmark,
          who's idea was it for the death trap
          redez-vous?

          LT.HICOX
          She chose the spot.

          SGT.DONOWITZ
          Well isn't that just dandy?

          
          

          LT.HICOX
          Look, she's not a military strategist.
          She's just a actress.

          LT.ALDO
          Ya don't got to be Stonewall
          Jackson to know you don't want to
          fight in a basement.

          LT.HICOX
          She wasn't picking a place to fight.
          She was picking a place, isolated,
          and without germans.

          PFC.HIRSCHBERG
          Lieutenant, I hate to be contrary,
          but I got me a Nazi pissin on
          Louisianna two-o'clock.
          They move to the window, and sure enough, ONE LONE NAZI
          PRIVATE, relieves himself against the side wall.
          Lt.Bicox, this was definitely, not the plan.

          LT.HICOX
          Shit.
          Sgt.Donowitz chides him;

          SGT.DONOWITZ
          So what do you think your fraulein
          Von Hammer -

          LT.HICOX
          - Obviously, I don't know,Sgt.
          The British officer watches the German soldier, who's not
          suppose to be there. When Hugo Stiglitz joins him at the
          window. Stiglitz looks down at the urinating Nazi, S.S. dagger
          in hand.

          STIGLITZ
          If we're going, let's go.
          He sheaths the dagger.

          EXT - LA LOUISIANE (BASEMENT TAVERN) - NIGHT
          The GERMAN PISSING PRIVATE, sloppily finishes his task.
          Craming his noodle back in his pants, he descends the stairs
          that lead him back into the basement tavern. We Follow him...

     

          INT - LA LOUISIANE (BASEMENT TAVERN)- NIGHT
          .Inside the basement tavern, La Louisiane. it has a very low
          hanging basement ceiling. A old looking wood bar off to the
          right. And the only other space in the little tavern, is taken
          up by two large(at least in here) tables, which take up both
          half's of the room. And despite rumors to the contrary, one of
          the two tables, is completely filled with drunken celebrating
          Nazi enlisted men, of which our urinating friend is one of
          five.

          FIVE NAZI'S
          ONE GERMAN MASTER SGT, ONE FEMALE GERMAN SGT (a powerfully built
          stocky type), and THREE MALE GERMAN PRIVATES.
          The Five Nazi's are sitting around the table, drinking, and
          playing a very fun game with none other then the fraulein of
          the hour, UFA diva, BRIDGET VON HAMMERSMARK. Dressed to the
          nines in a chic Forties style women's suit, complete with
          fedora. The game their playing consists of each player having
          a card with the name of a famous person, real or imaginary,
          stuck to their forehead. The player doesn't know what name is
          on their forehead. So they ask the others questions to figure
          out who they are.
           The Five Germans, five cards read; MASTER SGT #1(POLA NEGRI),

          FEMALE SGT #2(BEETHOVEN), GERMAN PRIVATE #3(MATA HARI),

          GERMAN PRIVATE #4 (EDGAR WALLACE), GERMAN PRIVATE #5
           (WINNETOU). And Bridget Von Hammersmark, who wears her card in
          the brim of her fedora, has GENGHIS KHAN.
          It's German#5 (WINNETOU) turn to ask questions.
           The DIALOGUE will be in GERMAN, and SUBTITLED into ENGLISH.
          Also, while some dialogue will be written for the German
          Soldiers, it will be mostly made up from the exuberance
          of their game playing, and celebrating.

          WINNETOU
          .okay, I'm not German. Am I American?
          The whole table bursts out laughing.

          FEMALE SGT/BEETHOVEN
          Yes you arel

          EDGAR WALLACE
          Well, not really.

          SGT.POLA NEGRI
          What do you mean, not really? Of
          course he is.


          EDGAR WALLACE
          Well if he's so American, how come
          he's never been translated into
          English? He's not American. He's
          suppose to be American, but he's not
          a American creation. In fact, he's
          something very different.

          WINNETOU
          Okay, I'm a fictional, literary
          character, from the past, I'm American,
          and that's controversial.

          BRIDGET/GENGUS
          No it's not controversial. The nationally
          of the author, has nothing to do with
          the nationally of the character.
          The Character is the character.
          Hamlet's not British, he's Danish.
          So yes, this character was born in
          America.

          WINNETOU
          Well I'm glad that's settled. If I had
          a wife, would she be called a squaw?
          He's got it.
          The table Laughs.
          The TABLE

          YES!

          WINNETOU
          Is my bloodbrother, Old Shatterhand?
          The TABLE
          Yes!

          WINNETOU
          Did Karl May write me?
          The TABLE
          Yes!
          In the BACKGROUND, WE SEE, our three counterfeit German
          Officers, Hicox, Wicki, and Stiglitz, enter the basement
          tavern. They obviously. see the five German soldiers, but their
          too far away for us (the audience) to read their face. No
          doubt their less then happy. Fraulein Von Hammersmark
          see's them as well. Without getting up, she waves to them.

   

          BRIDGET
          Hello, my lovelies, I will join you
          in moments. I'm finishing up a game
          with my five new friends here.

          LT.HICOX
          No hurry, Frau Von Hammersmark.
          Take your time, enjoy yourself.

          BRIDGET
          (To Winnetou)
          So who are you?

          WINNETOU
          I am WINNETOU, CHIEF of the APACHES!
          The table CHEERS, and APPLAUD the Apache Chief, as he takes
          the card off his forehead.
          The other Four German Soldiers drink down there beer(part of
          the game).
          Bridget Von Hammersmark knock backs her champagne.

          MATA HARI
          Frau Von Hammersmark, when your
          friends came in, did you realize
          you did a double take, like in the
          movies?

          BRIDGET
          Really? No, I wasn't aware of that
          at all.

          MATA HARI
          They must be second nature to you now?
          Did they teach you how to do a double
          take in the movies?

          BRIDGET
          Well, yes they did, but it's not really
          that difficult.

          SGT.POLA NEGRI
          Do one for us.
          The Tableheartily agrees.
          Bridget looks directly at the Master Sgt, and does a perfect,
          and perfectly funny, Double Take.
          The Table loves it.



          MATA HARI
          My turn, I want to try.
          Mata Hari, looks directly at Beethoven, and does a Double
          Take.

          EDGER WALLACE
          I want to try.
          He does.
          Soon the whole Table is doing dueling Double Takes.

          HICOX - WICKI - STIGLITZ
          watch the table do dueling Double Takes. Obviously, they don't
          understand.

          THEN...
          .Bridget Von Hammersmark rises, and excuses herself from the
          Table. She removes the card stuck in her fedora, looking at
          the name Gengus Khaun for the first time.

          BRIDGET
          Gengus Khaun! I would never of gotten that.
          She walks over, and joins the masquerading Germans table, the
          Gentlemen rise. She greets each warmly with a french cheek
          kiss, as if she knows them well.
          They all take a seat. The two Basterds, and one Brit, drink
          Whiskey. The taverns PROPRIETOR, a older, big bellyed
          Frenchman named EARL, comes over to the table, and pours more
          champagne into Bridget's Champagne glass. He leaves, returning
          back behind the bar, with the YOUNG FRENCH BARMAID, the only other
          person in the establishment.
          Obviously, they speak GERMAN, SUBTITLED into ENGLISH;

          LT.HICOX
          I thought this place was suppose to
          have more French then Germans?

          BRIDGET
          Normally that's true. The Sgt over
          there's wife, just had a baby. His
          commanding officer gave him, and his
          mates the night off to celebrate.

          WICXI
          We should leave.

          BRIDGET
          F No, we should stay. For one drink at
          least. I've been waiting for you in a
          bar, it would look strange if we left
          before we had a drink.

          LT.HICOX
          She's right, just be calm, and enjoy
          your booze.

          BACK TO THE GERMAN TABLE
          The French Barmaid, has taken Bridget's place in the rousing,
          rowdy game. She tells them, her person must be French, or she
          won't know them. Winnetou thinks for a moment, then writes a
          name on a card. The Barmaid puts it on her forehead, It says;

          NAPOLEON.
          The Germans all laugh.

          BACK TO THE BASTERDS TABLE

          BRIDGET
          There's been some new developments.
          The cinema venue has changed.

          LT.HICOX
          Why?

          BRIDGET
          No one knows. But that in itself
          shouldn't be a problem. The cinema
          it's been changed to is considerably
          smaller then The Ritz. So whatever
          materials you brought for The Ritz,
          should be doubly effective here.
          Now this next piece of information
          is colossal, try not to over react.
          The Fubrer, will be attending tomorrow.
          Hugo Stiglitz does a SPIT TAKE.
          Bridget's eyes bore holes in him.

          BACK TO THE REAL GERMANS
          They see Hugo do the spit take, and burst out laughing.
          Keeping it up, they begin to do dueling spit takes, like they
          did dueling double takes earlier. Needless to say, they all
          get wet.



          BACK TO BASTERDS

          BRIDGET
          (To Hicox)
          You'll be going as Ernst Schuller.
          You'll say your a associate producer
          on Riefenstahl's "Tiefland". It's the
          one German production not under Goebbels
          control, and Leni wouldn't be caught dead
          at a Goebbels film affair.

          BACK TO REAL GERMAN TABLE
          Master Sgt.Pola Negri, drinks his beer, as he looks over,
          dreamily, at Bridget Von Hammersmark at the other table.

          BACK TO BASTERDS
          We See in Bridget continues to brief Hicox on his identity.
          the B.G., the German Master Sgt stand up from his table, and
          head toward Fraulein Von Bammersmark.

          BRIDGET
          .the films gone through many delays,
          and Leni's heath is deteriorating, so
          if you have to speak...
          Hicox, seeing the German Master Sgt approach, signals for her
          to cool it.

          SGT.POLA NEGRI
          Frau Von Hammersmark, I was just
          thinking, could you sign a autograph
          to my son on his birthday?

          BRIDGET
          I'd love to Wilhelm.
          (To the Table)
          This handsome happy Sgt, just became
          a father today.
          The Pretend Officers offer congratulations to the Sgt.
          The German Master Sgt, CLICKS his heels, and bows before his
          superior officers.

          SGT.POLA NEGRI
          Thank you, heil Hitler.
          He raises his hand .... as do the seated phony officers; "Heil
          Hitler".
          As she takes a rather fancy fountain pen from her clutch..

          BRIDGET
          So Wilhelm, do you know the name of
          this progeny yet?

continuación